Tortured Souls: Animae Damatae (motion picture screenplay)
by Joseph Jude
Summary: An attempted screenplay adaption of Clive Barker's short story Tortured Souls


TORTURED SOULS: ANIMAE DAMATAE

Screenplay by Joseph Jude

Adapted from a story by Clive Barker

1st Draft May 10, 2013

TORTURED SOULS: ANIMAE DAMATAE

INT. ROOM-NIGHT

MONTAGE

It isn't clear where we are; some dark blue area which could very well be outside. We can only see a succession of close up, almost blurry images. What we can make out is a NAKED HUMAN BODY, having some sort of SURGERY done on it.

Intricate, ornate, almost alien tools: KNIVES, NEEDLES, HOOKS, are cutting and manipulating the flesh of this person. Screams of pain and agonized whimpers can be heard. Sometimes, more articulated cries can be made out in a man's voice.

MAN  
(weakly)  
No more! Please! Stop!

It's unclear who is doing the operating. We can only see glimpses of BLACK GLOVED HANDS, some quick flashes of a face. The face itself seems inhuman. A prominent set of TEETH stand out more than anything. It's almost as if the lips were permanently pulled open.

Whoever it is, there is no violence in the work. It is delicate, precise, and almost tender.

The "surgeon" is letting out soft, soothing "shhh"'s. The surgeon then sings _The Northeastern Cradle Song_ in the softest, most beautiful voice possible. It's hard to tell if it's even male or female.

SURGEON  
The moon is bright, the wind is quiet,  
The tree leaves hang over the window,  
My little baby, go to sleep quickly,  
Sleep, dreaming sweet dreams.

The operation continues, with lavishly decorated pieces of metal being INSERTED INTO SKIN, and hooked securely. Some pieces are wielded to bone with a small blue fire. Fine glistening gold wire is threaded through organs. The subject continues crying in pain.

Black leather clothing is slid over the skin and fastened. Some straps are fed through open cuts.

Finally, the surgeon's hands glide away from the body as if the work is completed. The whimpering is regressing to nothing.

We see a close up of a pair of lips revealing pointed SILVER FANGS

LIPS  
Thank you.

END MONTAGE

EXT. OUTSKIRTS OF PRIMORDIUM-NIGHT

We zoom in over old roads and small dilapidated lots towards the city of PRIMORDIUM. It is a vast, but uninviting metropolis. The time period is unclear though there is a strange pseudo 1920's vibe to the architecture and fashions. It's a decayed Art Deco/Industrial Revolution style.

Many towers reach skyward though the whole city seems to be cast in the same charcoal black hue. It looks like the city is less a collection of individual buildings and more like a set of ungainly growths.

In the center of the city is a LARGE BRONZE PALACE that rises above everything else.

EXT. PRIMORDIUM STREETS-NIGHT

Primordium's streets are old, cluttered, and dirty. Cobblestone weaves in and out of the asphalt, and the structures are warped and distorted, as if too tired to stand upright. There's no activity, but the streets aren't empty as many alleys and doorframes seem to have people lying in them: homeless, junkies, dead bodies.

No movement can be seen, but in the faint distance are the cries of someone as if being attacked. Sirens can be heard only to quickly fade out.

INT. BEDROOM-NIGHT

It's a small, but well-furnished bedroom. As opposed to the city outside, everything is clean and ordered. A bed with satin sheets, a vanity trimmed in ornate flowery design, a bookshelf with many large vintage editions such as The Dictionnaire Infernal, the Key of Solomon, and Grimoire of Agrippa_._

A WOMAN, dressed in a long silk nightgown, stands in front of her large window. She's staring at the city and we can only see her from the back. She is tall and fit, with long dark hair that flows down her back.

The screaming and sirens briefly echo her view. The neighborhood that her window immediately looks out to is of a higher class with large expensive housing. However, the homes share the same murky hues as the rest of the city. The tips of uglier, more damaged structures can be seen peaking out.

She closes the shades.

INT. LIVING ROOM-CONT.

The woman slowly, almost aimlessly, strolls into living room of the same house. Like the bedroom, it is small but well maintained. The Rococo furniture and Persian rug are illuminated a dark gold by the fireplace. Dim lights define the entrance to the dining room.

Although we still can't see her except from the back, we can see that she is looking down at a NEWSPAPER sitting on a side coffee table, THE TRIBUNAL.

On the front page is the picture of a GENTLEMAN in his fifties. He is well dressed in a suit, with graying hair. He's stocky but not soft. There are a number of lines in his face to suggest a life of stress and hard work, also determination.

The headline next to the picture reads SENATOR ROLAND MARCUS CALLS OUT PERFETTO.

She stares at the paper, nervously rubbing her palms together.

INT. BEDROOM-NIGHT

This is a different, much larger bedroom. A king sized bed in the middle of a vast space with twin closets on each side and a large mirror on the back wall. Two people are having vigorous sex in the bed; A MAN in his forties with the tattoo of a bull on his left shoulder, and a much younger WOMAN.

They climax. The woman climbs off of him and rolls on his side. Both take their time to catch their breath and relax. The man takes a cigarette out of a small case on his nightstand and lights himself a smoke. He turns to his mate.

MAN  
I could use a drink. Go get me a port.

WOMAN  
Why me?

MAN  
I like to watch you walk.

WOMAN  
(flirty)  
Very well, Mister Bollen.

She gives him a smirk and climbs out of the bed, slowly and provocatively strutting though the bedroom and out the door.

Bollen sits in silence for a moment, smoking his cigarette and staring at the ceiling in quiet.

Although no noise is heard, his attention goes back to the bedroom door.

BOLLEN  
(slightly concerned)  
Megara?

No answer.

BOLLEN  
(louder)  
Megara!

His eyes narrow. He reaches under the bed and pulls out a LARGE COLT PISTOL.

Still naked, Bollen quietly and quickly moves across his bedroom to the door, peeking out into the hallway. There's A LIGHT from the sitting room at the end.

INT. HALLWAY-CONT.

Still quietly, but slowly and cautiously, Bollen moves down the hall, gun ready.

INT. SITTING ROOM-CONT.

Bollen slowly peers into the sitting room.

The lamps are on. Stationed in one chair is Megara, or at least her body, since the HEAD IS MISSING.

Bollen backs out, dashing efficiently through the hall and down the steps.

INT. LIVING ROOM-CONT.

He enters the living room. The lights are on here too.

FOUR MORE BODIES are seated on the couch and end chair respectively. Three are LARGE OVERCOATED MEN with their hats still on. The forth is an OLDER WOMAN in a maid's outfit. All of them have their TORSOS SLIT AND PRIED OPEN, the entrails spilled out all over the carpet.

Bollen walks over to his phone on the end table and picks up the receiver. He taps the switch hook a few times. Dissatisfied, he tosses the receiver to the floor.

He scans around.

His eyes dart back to entrance of the living room that he just came through. He runs back.

INT. STAIRCASE-CONT.

Bollen runs back up the staircase and down the hall.

INT. BEDROOM-CONT.

Bollen re-enters his bedroom, gun ready, looking around.

Suddenly, Bollen sees Megara's face right in front of his own. Bollen gasps, startled for a moment. A FLASH of something takes out his lower leg and he drops.

Bollen is on the floor. A black Brogue shoe kicks him in the face. Something shiny hits his hand and Bollen's gun is swatted free, landing a small distance away.

Bollen grabs his bleeding hand. The attack is over for the moment. He has time to look up at his ASSAILANT.

The attacker is ZARLES KREIGER. He's dressed in a fine suit and coat looking not unlike Bollen's guards downstairs. He does have a good amount of blood splashed all over him. Even on his dark clothes it glistens in the moonlight gleaming through the windows.

Kreiger is holding MEGARA's HEAD which he now nonchalantly tosses to the side.

BOLLEN  
You've just made the worst mistake of your life, my friend. Do you think  
that you can just come in here and pull this shit?

Kreiger just looks at him with a disinterested stare. He is holding two large SCYTHES in his left hand (the one that wasn't holding a head). He takes one in his right hand.

Bollen's anger turns to recognition

BOLLEN  
Wait. I know who you work for. You're Cascarellian's freak. You tell him that  
he's dead. Nobody fucks with the Bollen family! NOBODY-

With a sigh of boredom, Kreiger SLASHES his scythe into Bollen's gut, shutting him up. With a look that's part tedium and part anger, Kreiger yanks the scythe out, dropping both blades and reaching into Bollen's guts with his bare hands.

Bollen gapes in pain and shock. Kreiger PULLS HIS ENTRAILS OUT, and wraps them around Bollen's neck, pulling tight.

Bollen's eyes bulge. His mouth flaps open though no sound emerges. Kreiger twists the entrails tighter; strangling Bollen whose face contorts and turns purple.

Bollen's body goes limp and twitchy. Still clutching the viscera, Kreiger drags Bollen out of the bedroom like a sack of potatoes.

INT. DINING ROOM-LATER.

Kreiger is gone. There's blood pretty much all over the place. It doesn't appear to be by accident either. Rather it appears to be a deliberate form of carelessness. Someone wants the walls to be slathered with the incidental mess that would occur with his work.

The four bodies from the living room have now been seated in four chairs in the dining room as if watching. The naked bodies of Bollen and Megara have been set up on top of each other in a simulated act of copulation, at least as set up as one can do with corpses. Megara's head has been placed between their legs instead of its normal location.

THREE MEN dressed in jumpsuits and butchers aprons enter the dining room.

JUMPSUIT 1  
(groaning)  
He's getting messier on purpose.

JUMPSUIT 2  
We don't have to clean up this one. At least, beyond the basics.  
Cascarellian wants them found like this.

EXT. GARDEN-NIGHT

A large garden around the house we saw earlier. The woman in the nightgown is kneeling, petting a plum blossom. A man's call is heard. It is SENATOR ROLAND MARCUS, standing a few feet behind her.

SENATOR MARCUS  
There you are. I was worried when I didn't see you in your bed.

The woman, LUCIDIQUE, turns to him, finally giving us a good look at her. She is young, perhaps twenty. There is an ethereal quality about her, yet her eyes are intense as if there are constant thoughts behind them. She looks like someone who never stops reflecting.

LUCIDIQUE  
I couldn't sleep. You've returned later than usual.

SENATOR MARCUS  
Things are starting to come to a head. Come inside,  
and I'll make you some tea.

INT. KITCHEN-MINUTES LATER.

His jacket and tie off, Marcus is pouring water from a kettle into a cup. Lucidique is sitting in a chair in front of the small table.

LUCIDIQUE  
People are talking more. They're brazen about it. The party I attended, they  
were speaking about what they'd like to do to you, and they knew I could hear them.

Marcus is dipping a tea bag into the cup.

SENATOR MARCUS  
I'm quite aware of what they would like to do to me. It means they're starting to worry. Clemons  
introduced me to a young man in the Commissioner's office who would be willing to testify.  
We could have the Commissioner out along with the rest of them.

LUCIDIQUE  
But you haven't heard anything from Perfetto personally.

He hands the tea to her which she cups in her hands, but doesn't drink.

SENATOR MARCUS  
(pensive)  
No. I was expecting some kind of response in the papers, but there's nothing.

LUCIDIQUE  
He will retaliate. And if it's not with words…

Marcus stares at her in consideration.

SENATOR MARCUS  
(contemplating)  
Maybe you should leave. I could send you to stay with your aunt. At least for a while.

LUCIDIQUE  
I could not leave you all alone in this city. These people who say they  
stand with you will certainly run if things go sour.

SENATOR MARCUS  
I know. I just have to convince them…that we can fight this.

He places his hand under Lucidique's chin. He smiles uneasily.

SENATOR MARCUS  
If only I can convince them to be half as strong as you.

She smiles back.

Marcus leaves the kitchen, unbuttoning his shirt. Lucidique loses her smile. She holds the tea close to her chest.

EXT. STREET-LATER THAT NIGHT

Covered in a thick coat, Lucidique walks one of the grimy streets in a slum area of the city. She stays close to the walls and gazes all around, moving quick and lightly.

She stops at a backstreet. A TEENAGE GIRL is curled up next to some dumpsters. Lucidique leans down next to her.

LUCIDIQUE  
Hello there.

TEENAGE GIRL  
(looking Lucidique over)  
Yeah?

LUCIDIQUE  
What is your name?

TEENAGE GIRL  
(weakly flirting)  
You can name me whatever you want.

The teenage girl smiles, and tries to touch Lucidique, but Lucidique takes the girls hand in her own.

LUCIDIQUE  
No.

The girl is confused. Lucidique looks around. She then reaches into her coat and pulls out a wad of cash, placing it in the girl's hands.

LUCIDIQUE  
Take this.

TEENAGE GIRL  
(looking at the money)  
To do what?

LUCIDIQUE  
To go home for tonight.

The sound of some men fighting can be heard nearby. Lucidique looks away, fearfully, then back to the girl.

LUCIDIQUE  
Go now. If I come back later, and you are still  
here, I will take my money back.

The girl scrambles to her feet and runs off. Lucidique stands up. Uneasily, she walks onward.

EXT. EMPEROR PERFETTO'S PALACE-DAY

Technically, it is day, though the clouds and smog are so overcast that street lamps have to remain on simply to light the area.

In the center of the city are the lush grounds leading up to the Palace of EMPEROR PERFETTO XI. Here, the streets glisten new and clean and gardens intercut with the sidewalks. The street lamps hold candles that gently illuminate the surrounding. There are no loiterers here. What people are seen here are impeccably dressed and move quietly and with purpose.

The palace itself is a collection of towers rising higher and higher with the middle one the largest, so that it could be seen from anywhere in the city. The walls are colored bronze and gold. With over elaborate Baroque detailing lining the walls and stain glassed windows. It's beautiful, but hard. The building itself cast an impenetrable aura even without the number of guards that stand at their various posts.

INT. PERFETTO'S POOL-DAY

It is a large round swimming pool with a fountain in the center surrounded by more gardens. A few ATTRACTIVE YOUNG WOMEN cavort in the pool while guards line the various entryways.

There is also The Emperor Perfetto. He is a large man. Not particularly attractive; he looks like someone who may have been handsome once before he indulged his appetites too much. Dressed in a Turkish robe, he sits on a marble bench underneath some trees and watches the girls with a great smile on his face.

An ATTENDANT walks over to him and whispers something in his ear. Perfetto nods, and the attendant leaves the room.

Perfetto watches the doors as a minute later, the guards let in another gentleman. This man, DURAF CASCARELLIAN is an older gruff man, maybe in his sixties or seventies. He isn't as corpulent as the Emperor. He had the body of a businessman, a little weathered but healthy enough for his advanced age.

He walks over and sits down next to the Emperor. He takes his hat off but not his sunglasses.

CASCARELLIAN  
(motioning to the women)  
You watch too much of that, you'll go blind.

PERFETTO  
Wouldn't you want a beautiful woman to be the last thing you see?

Cascarellian nods.

PERFETTO  
I don't have to explain why I summoned you.

CASCARELLIAN  
That Senator.

PERFETTO  
He speaks his mind too much. Saying the people's taxes  
are fueling our "decadent pleasures".

CASCARELLIAN  
Every so often you have one of these assholes who become touched  
with ethics. Nobody listens to them.

PERFETTO  
We're not going to have any more of them. Ever. Ever. The good senator  
is going to spread a new message. Send that boy you have. You know the one.

CASCARELLIAN  
It'll be done tonight.

They watch the women a little longer.

PERFETTO  
(smiling again)  
So carefree in their youth. Aren't they?

INT. KREIGER'S HOUSE-NIGHT

Like the Senator's house. Kreiger's home is small but nicely furnished. There is an empty sort of feel about the place. While there is expensive furniture, there are no personal touches; nothing that would indicate specific tastes or interests. It is a house bereft of personality or soul.

INT. KREIGER'S DINING ROOM-NIGHT

Kreiger sits alone at his large table, eating a steak dinner. A single ornamental candle lights the room.

INT. VESTIBULE-SAME TIME

A small ENVELOPE slides into the house through the mail slot. No other signs of life are heard.

INT. DINING ROOM-NIGHT

Kreiger hears this and turns to the door. He climbs out of his chair, walks to the front door and retrieves the envelope, bringing back to the dinner table.

Sitting back down, Kreiger opens the envelope.

He pulls out a NEWSPAPER CLIPPING of a story with Senator Marcus. Much of the text is missing, but the Senator's picture and the headline are there: SENATOR CHARGES EMPEROR.

Scrawled on the bottom of the picture is an address: 233 Diamanda Street.

Kreiger holds the clipping over his candle, letting it burn.

INT. KREIGER'S BEDROOM-MINUTES LATER.

A large wooden box sits at the foot of his bed. Kreiger opens it. Inside are his two scythes.

INT. SENATOR MARCUS' HOUSE, BATHROOM-NIGHT

The bathtub is filling with water. Lucidique is wrapped in a silk robe, picking bath salts from the cabinet.

EXT. SENATOR MARCUS' HOUSE, GARDEN-CONT.

Marcus, dressed in slacks and a partially unbuttoned shirt, is tending to a table of roses. A small set of clips in hand, he is looking at each rose.

INT. BATHROOM-NIGHT

Lucidique is in the tub, rubbing a soapy washcloth over her leg; her movements growing ever slower.

EXT. GARDEN-CONT.

Marcus stops on a beautifully bloomed rose. He takes his clips and gently places the blades on the stem.

He snips the stem.

The SCYTHE swings around his neck, pulling him down.

INT. BATHROOM-NIGHT

Lucidique is running her hands through her wet hair.

A loud thump makes her stop, and look at the bathroom door.

INT. KITCHEN-NIGHT

Marcus is spread out on the kitchen table. His stomach is RIPPED OPEN and his guts are spilled out. Kreiger has several serving plates on the table, and he is proceeding to pull out various organs and place each one on a different plate.

INT. CLOSET-SAME TIME

Lucidique is silently taking a flatware box off the top shelf of a closet. She opens it and takes out TWO LARGE KNIVES.

INT. KITCHEN-NIGHT

Kreiger is pulling out more organs, sloppily tossing unwanted pieces on the floor. He suddenly turns around to see Lucidique entering the room. She is still naked, except for the knife she holds in each hand.

Even though he sees her, Lucidique continues approaching, circling him.

LUCIDIQUE  
If you move, I'll kill you.

KREIGER  
With two table knives?

He quickly grabs his scythes off the table and slices though the air with them.

KREIGER  
Go back to your bath, and forget I was here.

LUCIDIQUE  
This was my father you just murdered.

Kreiger glances down between the dead body and her.

KREIGER  
Yes, I see the resemblance.

LUCIDIQUE  
I would have thought a man like you would have thought twice about taking a knife  
to my father's throat. He wanted to overthrow the Empire so that you and your  
like would not be exploited.

KREIGER  
(sneering)  
Me and my like?

He slams one scythe into Marcus' body, impaling it there.

KREIGER  
You don't know anything about me.

While not dropping the knives or her guard, Lucidique's body relaxes. She adopts an almost conversational stance rather than an attacking one. As she talks, she motions with her knives.

LUCIDIQUE  
I can guess. You were born in filth, and you've lived in filth so long you don't  
even see what's going on right in front of you.

Krieger loses his sneer, he seems a little uneasy. He steps back.

KREIGER  
(slightly embarrassed)  
So perhaps you do know a little.

Kreiger pulls his scythe out of Marcus.

KREIGER  
I will leave you to mourn your father.

Immediately turning away from her, Kreiger starts to walk away from the table.

LUCIDIQUE  
Wait!

Kreiger stops, surprised.

LUCIDIQUE  
Not so quickly.

KREIGER  
What do you mean "wait"? I could kill you in a heartbeat if I wanted to.

LUCIDIQUE  
But you don't want to or you would have done it.

Kreiger studies her for a moment, studies her studying him.

KREIGER  
What's your name?

LUCIDIQUE  
Lucidique.

KREIGER  
So then, what do you want from me?

LUCIDIQUE  
I want you to come with me, into the filthiest streets in Primordium.

KREIGER  
Believe me, I've seen them.

LUCIDIQUE  
Then you show me.

She places the knives on the counter behind her and waits for his answer, arms folded.

Kreiger ponders her offer.

EXT. STREET-NIGHT

Kreiger and Lucidique walk down the dank grimy streets. Most of the blood has been washed off him. She is wrapped in dark linen and sandals.

Kreiger looks around at the buildings, but mostly at her suspicious. Lucidique looks ahead, relaxed. Occasionally her eyes drift to him. Her demeanor is always one of knowing.

Like before, like always, there are people littered in the streets, some passed out, some dead. There's the occasional person digging through garbage cans.

LUCIDIQUE  
How many of these people have you seen before?

KREIGER  
I don't know. The faces all run together.

LUCIDIQUE  
Quite easily, don't they?

They pass by two filthy CHILDREN crouched in a doorframe. Lucidique pulls some bills out of her pocket, and places it in front of them.

LUCIDIQUE  
I spotted a child not unlike these the other day. Her left arm gangrene. I took her to the hospital  
where there were hundreds of people who were afflicted by disease, or attacked by the  
gangs, or rotting from the inside out from all the drugs.

KREIGER  
You seemed shocked. That's called "life". It never promised to be fair, let alone to be kind.

LUCIDIQUE  
It wasn't to you, was it? Where did you grow up?

KREIGER  
I grew up on the west end of the city, near the vomitoriums. I remember being ever  
worse than these children. I sat in the open sewers and watched my drug addled mother  
sell her body night after night. These children don't know suffering. My dead brothers know suffering.

He stops their walking to talk directory to her.

KREIGER  
Your father was a fool. He believed that he could change a place like this. You  
don't change it. You learn how to operate it. I learned how to conquer it.

LUCIDIQUE  
Do you believe that? This place has conquered you. It turned you  
into exactly the sort of person that would abuse your mother and leave you  
and your brothers dying in the sewer.

Kreiger stares at the ground. A childlike look of sorrow creeps over his face.

LUCIDIQUE  
These people could be helped. They should be helped. Most of them were  
once working, productive people. They lost their money through taxes and crime and  
the Emperor and politicians drained them dry.

She motions to the visible towers of the Emperor's palace.

LUCIDIQUE  
Look at that one tower. That one. That windows leads to one of the many  
rooms filled with treasures and needless luxury. One room alone could clear  
out the slums of the whole city and feed every starving child.  
(beat)  
They don't need to grow up the way you did.  
(beat)  
And maybe you don't have to be written off either. The  
type of person you became doesn't have to go to waste.

Kreiger looks at her, then to the palace, then to his hands which still have streaks of blood on them.

KREIGER  
(still looking down)  
What do you want me to do? I could never get to the Emperor.

LUCIDIQUE  
Don't be so sure.

KREIGER  
What do you mean?

Lucidique approaches him, lowering her voice to almost a whisper.

LUCIDIQUE  
You're right, the Dynasty is untouchable as long as you're just a man;  
a scabby little assassin hired to kill overweight Senators.  
(beat)  
But suppose you could be more than that? Then you could bring the Dynasty down.

KREIGER  
(meekly)  
How?

Lucidique begins to step away from him, giving Kreiger a sideways glance.

LUCIDIQUE  
It's nothing I can show you here. Besides, I have a father to bury.  
If you want to know more, then meet me tomorrow night  
outside the Western Gates. Come alone.

Kreiger's scowl returns. He now approaches her.

KREIGER  
If this is some kind of trap…some way to revenge your  
father…then before they take me, I'll cut out your eyes.

Lucidique doesn't vary her stance. She simply smiles.

LUCIDIQUE  
You make such pretty love-talk.

KREIGER  
I mean it.

LUCIDIQUE  
I know. And I wouldn't be so stupid as to conspire against you.  
Quite the reverse. I believe we were meant to know one another.  
I was meant to walk in on you killing my father, and you were meant  
to hold your hand off and not kill me. There's some connection between us.  
You feel it, don't you?

Kreiger's face seems to be fighting a battle between the vulnerable state from before and the usual hard, cynical visage he has always worn. He looks to the dirty street between them.

Kreiger looks back to her.

KREIGER  
Yes, I feel it.  
(beat)  
What time tomorrow night?

LUCIDIQUE  
Some time after one.

KREIGER  
I'll be there.

The two part, Lucidique returning the way they came, Kreiger walking further down the street.

EXT. STREET-DAY

It's one of the nicer parts of town. An OLDER MAN and WOMAN are hurrying to their limo as several aids carry bags and luggage, loading them into the trunk.

INT. PALACE, STUDY-SAME TIME

It's an exorbitant study with several vast shelves of books, statues and knick knacks of all sorts, and a large map of the world framed on the wall.

Emperor Perfetto is sitting in a lavish chair reading a velvet bound novel of some sort. A YOUNGER MAN, LYCAS is staring out the window, using a small personal telescope. They are both dressed in expensive sport wear. Lycas is a thin prettyboy type.

LYCAS  
There goes Senator Benfur. He's wasting little time.

Lycas steps away from the window, strolling leisurely around the room.

LYCAS  
I hear Judge Tiber beat them all. As soon as the Marcus death  
became pubic, he was on the road out of town.

Perfetto doesn't look up from his book.

PERFETTO  
The judge never made it out of town, Lycas. Some  
of Cascarellian's boys caught up with him. Terrible business.

LYCAS  
I thought the senator's murder was to warn the others.

PERFETTO  
(calm, almost sleepily)  
The judge apparently didn't heed my warning. These people assume  
they can just leave me when they chose. This city belongs to me. All of it.

EXT. PALACE-DAY

Outside the palace, along the walls, even more guards than before are patrolling.

Kreiger leans against a small column a considerable distance from the palace. He watches, deep in thought. His eyes occasionally drift to people moving fast, subtly trying to hide their faces. A general sense of unease is prevalent.

His eyes go back to the palace. A small smile just barely crosses his lips.

EXT. ROAD-NIGHT

A barren road, the West Gate of the city can be seen a small distance away. Kreiger sits on a large stone, staring at the gate, smoking a cigarette.

The faint sound of HOOVES draws his attention away from the city, instead to the DESERT. A loud dusty wind can be heard.

TWO HORSES become visible, approaching Kreiger. On one is Lucidique, dressed in equestrian attire and a large hat. The OTHER RIDER cannot be identified as he is covered in a large cloak with only a slit for his eyes.

The horses stop a small distance from Kreiger. Lucidique dismounts and walks to Kreiger who stands.

They both gaze at the other rider still in the distance. Lucidique motions to him, leading Kreiger.

LUCIDIQUE  
Come.

Kreiger looks from Lucidique to the other rider uneasily. Lucidique remains confident.

LUCIDIQUE  
Come.

The two walk back. The other rider is now standing in front of the horses although he was never actually seen dismounting.

LUCIDIQUE  
Kreiger?

KREIGER  
Yes?

LUCIDIQUE  
I want you to meet Agonistes.

The man pulls open his cloak, letting it drop to the ground. Kreiger's eyes widen at the reveal.

It is hard to tell if he is human, or ever was human. He is mostly clad in heavy leather, bolted and belted in innumerable places. Boots and large shoulder pads made it resemble a soldier's uniform though one that was self made and largely asymmetrical. What skin is visible, on his face and right hand is horribly mutilated with metal framing jutting into the flesh and restricting it at various points. He face is reduced to a misshapen slab with two eyes and mouth pulled open to keep his teeth exposed in a ghastly grin.

This is evidently the surgeon from the prologue.

Several long menacing BLADES and HOOKS dangle from his outfit. Four MECHANICAL ARMS, also ending in blades, extend out behind him. His form grows more vast and intimating.

As brutal as his body looks, he moves rather smoothly. Indeed, while his entire construction appeared awkward, there is a clear method behind it. The technology is more sophisticated and unfamiliar than haphazard.

KREIGER  
(recognition)  
Agonistes.

LUCIDIQUE  
Have you heard of him?

KREIGER  
Just stories. Rumors. Nothing plausible.

LUCIDIQUE  
And yet here he is. It's amazing what seems implausible can be very real.  
(beat)  
A transformer of flesh. A creator of monsters.

KREIGER  
If…someone hungered for change, knowing how…painful that could be.

LUCIDIQUE  
He will accommodate them. Supplicants become objects of  
perverse beauty beneath his hand.

They both stare at Agonistes. He speaks. His voice is pretty but modulated.

AGONISTES  
I hear you want to make Primordium a Republic.  
(beat)  
Single-handed.

KREIGER  
She persuaded me it was possible. But…I don't believe it is.

AGONISTES  
You should have more faith, Kreiger. I can make you  
the terror of Emperors, if you want it badly enough. It's  
up to you. Make up your mind quickly, for I have better business  
elsewhere tonight if you don't require my services.  
(beat)  
I can hear a hundred prayers pouring out of Primordium at this very  
moment: people wanting me to give them the power to change their world.

Lucidique places her hand up to Kreiger's face.

LUCIDIQUE  
(to Kreiger)  
Now the moment's here, I see you don't want it. You're afraid.

KREIGER  
(to Lucidique)  
I'm not afraid!  
(to Agonistes)  
Take me.

AGONISTES  
You're sure? Remember, there's no way back.

KREIGER  
I don't want to go back. Take me. Change me.

Kreiger glances at Lucidique. She is smiling.

AGONISTES  
(to Lucidique)  
Take the horses. We won't need them.

Lucidique and Kreiger look at each other one last time.

Then Kreiger turns and walks to Agonistes. The surgeon leads him away.

Lucidique takes the horses by their reins and walks them back towards the city, gleaming a malevolent smile. Agonistes and Kreiger venture into the vast desert together.

EXT. CEMETARY-DAY

A CASKET is lowered into a grave. A minister stands at the front of the hole while a small group of mourners surround the descending coffin. Among them is Lucidique, dressed in a long black dress and dark veil covering her face. Nobody is saying anything.

A fair distance, a BLACK TOWN CAR is parked. Looking out the cracked back window is Duraf Cascarellian. A younger man, Duarf's son, FELINN, is sitting next to him. He is good looking but hard, much like Duarf probably looked in his youth.

FELINN  
No word on Kreiger yet, Papa.

Duraf doesn't say anything.

FELINN  
I wouldn't worry. He does disappear from time to time.  
What else does he have to do?

CASCARELLIAN  
I want Zales tracked down.

FELINN  
You believe that girl has something to do with it.  
I could persuade her to discuss what happened that night.

CASCARELLIAN  
(raising his hand)  
You stay away from her. Watch her, but do not  
do anything to her until I say.

FELINN  
I was just saying-

Duraf turn to Felinn, raising his voice.

CASCARELLIAN  
You do what you're told!  
(to the driver)  
Lemor, Take us away from all these graves.

The car slowly drives off.

EXT. STREET-NIGHT

It's just as ugly as every other night. An OLD MAN stumbles feebly. Groaning in pain, he clutches his heart, falling face first into a puddle, and moving no more.

A couple HOMELESS PEOPLE scurry through the slums, looking over their shoulders.

TWO TOUGHS huddle on a corner, both are twitchy, edgy. As if anything can set them off.

INT. PALACE, GREAT HALL-NIGHT

SEVERAL MEMBERS of the Emperor's family are relaxing in the extravagant hall, though the Emperor himself is not there. Like Lycas, they are all attractive but soft. None of them seem to have worked a day in their lives.

A few musicians play string instruments. Several small tables hold plates of fruit and candles, and the entire room has a relaxed air as the occupants talk and laugh in their chairs. Some children run around the room playing.

An OLDER WOMAN, apparently The EMPRESS, sits in a large antique throne with a detached look as young men and women talk, including Lycas who is picking a grape off a plate.

LYCAS  
I'm ready for another trip. The food here has become so…repetitive.  
Surely there must be a dish I haven't sampled yet.

Another son, HEROS, laughs.

HEROS  
Yes, I'm sure it's the foreign foods you're so keen to sample.

The women especially giggle.

LYCAS  
Now, now why would I rush out for that when  
there are still so many succulent morsels here?

He grabs an ATTRACTIVE YOUNG WOMAN and hoists her off her feet while she squeals in laughter.

INT. DUNGEON-SAME TIME

While it is indeed a room filled with various instruments of torture, it is as lavishly decorated and maintained as the others. It is not a dungeon for prisoners but for other things.

The Emperor sits in a luxury armchair, a glass of wine in his hand. He is watching a LARGE HOODED NAKED MAN whip a YOUNG NAKED WOMAN who is bound to standing stocks. Her mouth is gagged and she is crying through her leather blindfold, clearly not enjoying this, though the Emperor is by the grin on his face.

He motions to someone.

PERFETTO  
I'm ready now.

The person, A YOUNG BOY of about ten approaches him, lowering down to his hands and knees.

INT. PALACE HALLWAY-SAME TIME

Two GUARDS stand at each end of the hall.

A WHITE MIST is starting to seep in though the doors. The guards don't immediately notice it.

There's an almost inaudible clicking sound, and then the large doors behind one set of guards cracks open. The lights in the hall flicker, and then turn off.

The guards look up at the lights, alarmed.

The sentries at the other end of the hall notice the door. One points to it, calling the men directly in front.

GUARD  
Look!

The two guards in front of the opening door turn around, and are both SLICED IN HALF with one swipe through both torsos. The four parts fall to the ground as the other guards fire their rifles at the attacker.

The attacking shape runs quickly at the screaming guards, unfazed by the bullets.

INT. GREAT HALL-SAME TIME

Everyone stops, hearing the gunfire. The guards spread throughout the hall immediately, readying their rifles. Some rush out the exits. Others stand short distances from the exits watching the doors and scanning around.

The Perfetto family members gasp and run to each other, huddling in small groups.

LYCAS  
Be calm everyone. Calm down.

INT DUNGEON-SAME TIME

The Emperor is lost is a state of ecstasy, but the Whip Master halts his work, hearing faint noise above. The Emperor notices this.

PERFETTO  
Why have you stopped?

INT. HALLWAY-CONT.

FIVE MORE GUARDS run down the halls, stopping at a small pile of dead guards and a few dead servants.

The guard in front kicks open the door to the next room, and they cautiously look around.

One guard is checking the dead bodies when the assailant bursts forth from the pile, and immediately swings a LARGE BOW-LIKE WEAPON around. The ends have large blades, and he makes short work of the guards. He cuts them apart, pieces ricocheting off the walls.

INT. GREAT HALL-CONT.

The family and friends stay still, listening to the echoes of gunfire and screaming.

HEROS  
Perhaps we should flee the palace.

LYCOS  
Quiet, Heros. I can't hear where they are.

He calls to a RANDOM GUARD.

LYCOS  
You. Go out there and find out what's happening. Report back quickly.

The guard nods and leaves the hall.

ANOTHER GUARD steps up to lock the door behind him, when the first guard's body is thrust back into the room, a LARGE GASH in his torso.

Everyone screams, and the other guard quickly closes and locks the door. A few MORE MEN trot over, and they watch the door, guns ready.

A minute or so later, a different door BANGS LOUDLY, surprising everyone. Something on the other side is hitting it with incredible force. The door is buckling against the frame.

The guards rush to it, but the doors are BLOWN OFF the hinges just as they arrive, a few are knocked over.

The assailant enters, giving everyone a good look at him.

It is Kreiger, though hardly recognizable. He has been COMPLETELY REBUILT by Agonistes. Like his re-creator, Kreiger is dressed in thick leather clothing that is held tightly with belts and chains. A large metal apparatus is connected to the back of his outfit. Hooked to the ends of that is the skin from the back of his head which has been split into rows keeping his head held wide open. Attached to this apparatus is a smaller metal apparatus holding a number of surgical instruments.

His face is mostly humanoid, and there is still some resemblance to Kreiger, although there's a number of leather straps tightly bound around his face, constricting his skin.

Among the smaller instruments, he has a larger detailed scythe on a chain hanging off his belt. He is holding a long bow with a large scythe on each end. All of his weapons are dripping with blood.

He has been changed into a living weapon, The SCYTHE-MEISTER.

The guards are the first to move, pointing their guns, but Kreiger is faster, slicing off ALL OF THEIR HANDS, and leaving them falling to the ground, screaming in pain.

A FEW GUESTS make a break for one of the other exits, but Kreiger takes rapid, mammoth steps, literary running on the wall at one point, to arrive in front of the door and block their way. He spins his double scythe and chops the people into scattering parts.

ANOTHER MAN tries to run. Kreiger takes his hanging scythe and is on the man in a breath. Kreiger gouges the escapee through his chin with the scythe and lets the victim drop.

Kreiger approaches the others, dragging the gagging victim on the attached chain behind him.

Lycos pulls a gun from his back and points it.

LYCOS  
YOU-

Kreiger swings his staff up, carving Lycos' face into TWO HALVES.

The Empress sits in her chair in a state of shock watching Kreiger step from person to person, destroying them all.

At last, The Scythe-Meister stomps up to her, and looks at her quivering face for a second.

He jabs his staff INTO HER NECK, hard enough that it goes through the back of the chair. He then lifts both her and the chair high off the ground. He looks up at her shuddering bug- eyed body.

Kreiger swiftly yanks his staff out, and both the Empress and the chair crash back to the floor.

INT. DUNGEON-CONT.

The Emperor and Whip Master watch the door. The woman in the stocks is still screaming. The young boy from before is huddled with a YOUNG GIRL in the corner, neither saying anything.

PERFETTO  
GUARDS! GUARDS!

No answer. The only other sound is the bound woman.

PERFETTO  
(to her)  
SHUT UP, YOU WHORE!  
(to the Whip Master)  
Go see what's happening.

WHIP MASTER  
What? No!

PERFETTO  
GO!

They hear something. Far away from the door, something is clanging, like the sound of a large blade hitting the walls.

It's coming closer.

WHIP MASTER  
(backing up)  
No…

The sound is directly outside.

They watch.

The door pulls slightly. Then, a sudden jerk of the door, and sound of the lock breaking open.

The door nonchalantly swings open and Kreiger steps in.

PERFETTO  
Lord!

KREIGER  
Good evening Emperor Perfetto. I will now kill you and leave  
you in a pile of your own filthy perversion.

Perfetto scurries to a corner of the room, calling to the Whip Master.

PERFETTO  
STOP HIM! STOP HIM, DAMN YOU!

WHIP MASTER  
(shaking)  
No…no…no…

The Whip Master turns to run.

Kreiger JABS HIS STAFF into the man's back, actually, a little lower.

The frozen Whip Master shrieks. Kreiger hoists him up and shoves the staff, sending the man off of it and out the door.

Kreiger steps over to the screaming bound woman. He slices her torso. Both halves are held in place by the stocks so their ends just loosely flop towards the floor.

Perfetto, cowering in the corner, watches Kreiger walk over to the two children next. There's the sound of a slice and two small things rolling across the floor.

Kreiger approaches the Emperor now. Perfetto is holding his hands out in a halting fashion.

PERFETTO  
Money, Women, Men, how much do you want? I can give you anything you want.  
I can make you a general. You can lead an army, kill all day long. Whoever  
sent you can't possibly give you what I can-

Kreiger SLICES OFF HIS LEFT ARM at the shoulder. Perfetto cries out in pain, then goes back to bargaining (albeit in a pained tone).

PERFETTO  
You'd be a fool to kill me. I can give you so much. I-

The other arm comes off.

PERFETTO  
(wheezing and crying)  
No…No…Please…Don't. I don't want to die…

Another slice, and both legs are gone. Perfetto flops against the wall, blubbering blood.

PERFETTO  
I don't want to die. Don't kill me, please, please, please.

Kreiger pulls one of the scalpels out of his harness and picks up one of the severed arms.

INT. LUCIDIQUE'S BEDROOM-SAME TIME.

Lucidique is sleeping when the sound of SHOUTING AND COMMOTION wakes her. She jumps with a start.

This is a lot of screaming: men, women, things crashing, glass breaking. Something big is happening.

Lucidique jumps out of bed and to the window, flinging the curtains open to see the palace. There are lights burning in all the windows, the gates had been flung wide open, guards were running in all directions.

EXT. STREETS-NIGHT

In the streets outside the palace, the chaos can be heard much louder. Many people in sleepware and coats are out in the streets milling about, some heading for the palace. Lucidique is among them, dressed in her long coat, with her hair tied back.

GUARDS ON HORSEBACK are galloping almost aimlessly, telling people to get back in their houses, that there's a curfew in effect, but nobody is paying attention.

As Lucidique progresses towards the palace, other people start passing her, running in the other direction, many stained with blood.

EXT. PALACE-FRONT DOORS

Moving without much motion, Lucidique enters though the front gates, unnoticed among the other people. There are some outsiders who entered to see and now stand frozen in shock. There are others who were aids or guards now milling around directionless. Many have their hands clasped together, mumbling prayers of all kinds.

There are DEAD BODIES EVERYWHERE. Guards, aides, maids, people of all sorts are piled on the floors.

Lucidique walks further into the palace past these dead into the Great Hall.

INT. GREAT HALL-CONT.

Lucidique steps in, and sees the remains of many of the Emperor's family. The entire floor is COVERED IN BLOOD which pooled enough to reach the walls. The bodies are coated as well. Everything is red.

EVERYONE IS MUTILATED, the Empress, the sons and daughters, the children who had been playing, various women with their stomachs ripped out, small fetus' trailing a few inches away.

On his chair at the end of the hall was the body of Emperor Perfetto XI himself. His stomach ripped open with everything spilling out to the floor. His mouth had been torn open as wide as possible before his head would come off, and his limbs are shoved in tightly. A man devouring himself.

There are no living people here. Nobody left. Only Lucidique who steps just outside of the blood puddle, observing the handiwork.

She sees a REFLECTION in the blood and looks up to its owner.

Kreiger is there, looking at her.

Lucidique does not more. She simply waits.

Kreiger approaches her. She holds her breath.

He whispers in her ear.

KREIGER  
You cannot imagine…

Kreiger continues past Lucidique. She watches him leave the Great Hall.

EXT. PALACE COURTYARD-CONT.

A few people can be seen in the distance fleeing. Kreiger casually walks through the courtyard, pausing just to rinse his blades out in the fountain.

Then he walks off into the night.

INT. CASCARELLIAN HOUSE, DUARF'S OFFICE-NIGHT

Duraf is sitting at his desk. SEVERAL MEN, including his sons: Felinn, ROBERI, and DEMIN, are standing in front of him. These other two sons seem younger than Felinn, though of the same rugged stock.

FELINN  
There all dead. The whole family. He killed them all.

Duraf lets out a deep sigh.

CASCARELLIAN  
This will be bad. A lot of important people just lost the protection of an emperor.

ROBERI  
Including us.

FELINN  
(to Roberi)  
We don't need the fat slob. Anyone tries to move against us will regret it.

He looks at Duraf who is lost in thought.

FELINN  
Papa?

CASCARELLIAN  
My spy at the palace saw this "man" cleaning his blades outside  
in the fountain. He heard people calling him "The Scythe-Meister".

FELINN  
(eyes narrow)  
Scythe?

INT. TAVERN-NIGHT

Lucidique is in the back corner of an empty tavern with a small drink. She is dressed conservatively in long concealing clothes. Two MIDDLE AGED MEN sit behind the bar, cleaning glasses.

They all look at a third YOUNGER BARHAND hurrying through the front door, carrying a large box. He is out of breath. The other two rush out from behind the bar. They all seem to know each other.

YOUNG BARHAND  
Lock the door. It's mad out there. I saw  
a man stabbed two blocks down.

One bartender locks the door. The young barhand places the box on the floor, and all three digs through it, pulling out goldenware and bejeweled cups.

OLD BARTENDER 1  
Ooh, good haul. You done good.

YOUNG BARHAND  
I had to move fast. They were cleaning the place out, and it was getting violent.

Lucidique doesn't watch them. She just nurses her drink. The barhand calls to her.

YOUNG BARHAND  
Miss. Hey Miss.

She looks to see him offering a gold chalice with a red ruby on the front.

YOUNG BARHAND  
Here. Take it. It's from the palace. They're taking everything. Here.

LUCIDIQUE  
Thank you, but I'm fine.

The young man shrugs and the three continue going through the box.

OLD BARTENDER 2  
Were there still any bodies?

YOUNG BARHAND  
They cops cleared them out but there's still blood on the walls.  
Now they're just trying to control the looting.

OLD BARTENDER 1  
Yeah, I think we should consider closing for the night.  
It's only a matter of time before the looters come here.

EXT. STREET-NIGHT

Keeping to herself, Lucidique walks quickly down the street. Gunshots can be heard and police cars drives by, lights flaring.

EXT. LUCIDIQUE'S HOUSE, GARDEN-LATER

Lucidique is tending to lilies, though she is mostly lost in thought.

The sound of an OLDER NEIGHBOR can be hard along with the THUGS breaking into her home.

NEIGHBOR (OS)  
You can't do this. You just can't barge-

THUG (OS)  
You can't buy your way out of this one.

NEIGHBOR (OS)  
NO! STOP!

The neighbor can be heard being pushed back into her house along with the door slamming. Things are heard breaking along with her screaming.

Lucidique exhales. Subconsciously, she's rubbing her hand over her shears hard enough so that her hand starts to cut and bleed.

EXT. STREET-DAY

Dressed in a long white dress, Lucidique is walking towards her house, carrying a bag of groceries.

Felinn appears next to her, taking her by the arm in a subtle but strong way.

FELINN  
(fake friendly)  
Luci, it's me Felinn. Oh, I haven't seen you in ages. Why do I give you a lift home.

LUCIDIQUE  
Uh, no, that's okay. I can walk it.

Felinn is poking a small .25 caliber pistol into her side.

FELINN  
No, I insist. My car is right here. We can catch up.

Indeed, Felinn's black town car is close by which he takes her to. He opens the back door and pushes Lucidique in, looking around.

INT. CASCARELLIAN HOUSE, GUEST ROOM-DAY

Lucidique is seated on a small sofa. Felinn, Roberi and Demin are standing in front of her. There is a few visible rips on her dress. The left side of her face is red as if slapped.

FELINN  
Where the hell is Kreiger? Why didn't he kill you along with your old  
man? Did you suck is dick or something?

ROBERI  
(to the brothers)  
Never trusted that guy anyway. Street shit, all he was. Papa  
treats him like a son, but I knew he couldn't be trusted.

FELINN  
(to Lucidique)  
Why didn't he kill you?

He shoves Lucidique who merely sneers at him.

FELINN  
Won't tell us? You have a thing with the freak?

DEMIN  
Maybe she didn't like her dad. Maybe she likes bad boys.

FELINN  
Really? Because I can be a "bad boy".

Felinn grabs her by the chin forcibly, looming close to her.

FELINN  
I could be absolutely horrible.

CASCARELLIAN  
(angry)  
FELINN!

Duraf is standing in the doorway. The three sons nervously look at him, though Felinn tries the hardest to act confident.

FELINN  
Papa. We just trying to get some information out of her on Zarles-

CASCARELLIAN  
Shut up Felinn. All of you, get out.

ROBERI  
But Papa-

Duraf doesn't say anything he just widens his left eye in an irate fashion. The three boys shuffle out and close the door behind them, leaving Duraf and Lucidique.

LUCIDIQUE  
Why am I being held here, listening to your fucking idiot sons?  
You already killed my father, why not kill me already?

CASCARELLIAN  
You really want me to kill you?

LUCIDIQUE  
I don't care anymore. I'm too tired. I'm just too sick  
and tired. Of you, your sons, of everything.  
(beat)  
I've just seen too much blood.

CASCARELLIAN  
You were at the palace, weren't you? The Night of the Great Insurrection?

LUCIDIQUE  
Yes, I was there.

CASCARELLIAN  
You have something to do with this creature: this Scythe-Meister?

LUCIDIQUE  
My business, Cascarellian.

CASCARELLIAN  
I could give you to my sons for half an hour. They'd have it out of you.

LUCIDIQUE  
Your sons don't intimidate me. And neither do you.

Duraf pauses. His tone becomes softer.

CASCARELLIAN  
I don't wish to make you uncomfortable. You're here under my protection;  
that's all. Do you know what it's like out there on our streets? Pandemonium!  
The city is coming apart at the seams!

LUCIDIQUE  
Do you think holding me here is going to protect you from  
what's coming your way? Duraf backs away with a look of fear.

CASCARELLIAN  
What's coming my way? You know something about the future?

LUCIDIQUE  
(more relaxed, less defensive)  
No. I am not a prophet.  
(beat)  
I don't know what's going to happen to you and frankly I don't care.  
If the world ends tomorrow, I don't think you'll be judged very kindly but-  
(shrugging)  
I won't be there to see you suffer in Hell.

She smiles smugly at him. He grows both more angry and afraid.

CASCARELLIAN  
You think I'm a stupid man?

LUCIDIQUE  
I think you're pitiful.

CASCARELLIAN  
Pitiful?

LUCIDIQUE  
To be afraid the way you're afraid now? Yes, I think that's pitiful.

CASCARELLIAN  
(almost desperate)  
I don't want your contempt. I have enough enemies.

LUCIDIQUE  
Then don't make one of me. Let me go.

Lucidique loses her defensive stance. She acts softer, more approachable.

LUCIDEQUE  
Let me see the sky.

CASCARELLIAN  
I'll take you out, if that's what you want.

LUCIDIQUE  
You will?

CASCARELLIAN  
Yes, We'll go wherever you like.

LUCIDIQUE  
I want to go out to the desert. Away from the city.

CASCARELLIAN  
Really? Why?

LUCIDIQUE  
I told you. I want to see the sky…

EXT. CASCARELLIAN HOUSE, FRONT GATE-DAY

Two guards open the front gates allowing A CONVOY of three cars to roll out.

INT. FRONT CAR-CONT.

TWO BODYGUARDS are driving the first car.

PASSENGER SEAT BODYGUARD  
Take Browning Street. Seventh has been cut off by the gangs.

INT. BACK CAR-CONT.

The three sons sit in this car. Roberi driving, Felinn shotgun, and Demin in the back.

DEMIN  
Why is Papa putting up with this broad? Could she have something on him?

FELINN  
I think Papa is starting to lose his fucking mind.

DEMIN  
I don't like this. This is some kind of trap. Maybe she is working for the Delibrettis.

FELINN  
When all this is over, she's going to be working for the worms.

EXT. STREET-CONT.

The streets are quiet, though faint echoes of gunshots and police cars are forever heard. They're driving through an area that looked recently vital, but now all the store fronts are broken. A few burned cars sit to the sides.

INT. MIDDLE CAR-CONT.

Duraf and Lucidique sit in the back seat.

CASCARELLIAN  
I have people who have seen this man. They tell me he bore a  
subtle, but undeniable resemblance to someone I used to know.

LUCIDIQUE  
Is that so?  
(beat)  
This man you used to know; the life you have given him. Do you think he  
would thank you for it? Do you think that once his eyes were opened  
wider, he might see you differently?

Cascarellian says nothing. He just looks out the window.

EXT. CITY GATES-DAY

The convoy rolls out through the open front gates to the city rolling across an old dusty road surrounded by desert.

INT. MIDDLE CAR-CONT.

CASCARELLIAN  
Here's your open sky. Satisfied?

LUCIDIQUE  
(looking out the window)  
A little farther, please…

CASCARELLIAN  
Don't think you can fool me, woman. You may be cleverer than  
most of your sex, but you won't escape me, if that's your thought!

Lucidique doesn't answer him; she just stares out the window.

EXT. DESERT-CONT.

The three cars roll through the vast empty desert.

INT. MIDDLE CAR-CONT.

Both passengers sit in silence for a moment.

CASCARELLIAN  
I think we've come far enough. And you've seen enough of the sky for one day!

LUCIDIQUE  
I can't see anything like this. Can't I just get out and walk?

CASCARELLIAN  
Walking now, is it?

LUCIDIQUE  
Please. There's no harm in that surely? Look…open ground in every direction.

Duraf looks all around out his window. Then back to her.

He picks up his radio.

CASCARELLIAN  
Okay, stop the cars.

EXT. DESERT-CONT.

Everyone exits the three cars, though only Lucidique steps away from the vehicles. The others stay close, scanning the area.

A SANDSTORM is approaching. The winds howl.

CASCARELLIAN  
You better be quick.

Lucidique watches the approaching wall of sand.

She turns behind her to the men standing in front of the cars.

Felinn slyly smiles at her, flicking his tongue between his lips.

Lucidique's face becomes stone hateful.

She turns away from them, back to the sandstorm and walks towards it.

All the men step forward in surprise. Felinn pulls out his gun, pointing it at her.

ROBINI  
Hey!

DEMIN  
Woah! Woah!

ROBINI  
Where does she think she's going?

FELINN  
Stop!

She continues.

FELINN  
I said stop!

She halfheartedly stops, and turns back to them.

FELINN  
Don't take another step! Or I'll shoot you!

Lucidique holds her arms out wide.

LUCIDIQUE  
So shoot!

She turns back to the storm and walks on.

Felinn looks to Duraf for an order. Duraf calls to her, but his tone is more like a guardian calling a child back in.

CASCARELLIAN  
Come back here, Woman! There is nothing out there but sand.

The wind from the storm was whipping her hair now.

CASCARELLIAN  
Do you hear me!

Lucidique looks over her shoulder at him.

LUCIDIQUE  
Come walk with me.

Duraf takes a long drag on his cigar.

Then she walks after her.

ROBINI  
What the hell is he doing!?

FELINN  
Papa, no!

ROBINI  
Is he out of his mind!?

FELINN  
Stop!

DEMIN  
Papa?

FELINN  
STOP!

Lucidique watches him approach. As he nears her, a warm, almost happy expression begins to cross his face.

Lucidique looks back to the storm which is about a hundred yards away now.

DEMIN  
Do we stop him? Felinn?

Felinn looks at the others, unsure.

Duraf reaches Lucidique's side. He looks out to where she's staring, the sandstorm.

At the heart of the sandstorm is A DARK SHAPE moving.

Lucidique stares deeply into it, a look of both resolve and detachment.

Suddenly, Duraf has her by the arm. A KNIFE in his other hand is against her breast. His warm expression is gone.

CASCARELLIAN  
So, that's where he is! Your Scythe-Meister.

Just as suddenly, the sandstorm picks up a burst of speed, coming right at them.

CASCARELLIAN  
(to the storm)  
Don't come any closer! I'll kill her!

He presses the knife into Lucidique's chest. A small trickle of blood erupts. Lucidique stays transfixed on the storm which continues to approach.

CASCARELLIAN  
(to Lucidique)  
Tell him to keep his distance.

LUCIDIQUE  
It isn't Kreiger.

Cascarellian squints to make out the figure.

CASCARELLIAN  
What…

LUCIDIQUE  
His name is Agonistes.

Cascarellian can now seem him better, and gawks at what he sees.

Agonistes is indeed approaching from the heart of the sandstorm. His mechanical arms outstretched. This time there is an apparatus around his head with spikes going directly into the skin, including his eyes. There is also the stretched skin of a human face in between the two top arms like a flag.

LUCIDIQUE  
He has God's finger-prints upon him.

Duraf turns to her, angry.

CASCARELLIAN  
God?! GOD?!

He looks again at Agonistes coming, then back at Lucidique, his disgust and rage bubbling over.

CASCARELLIN  
YOU! Dare tie all this disgusting business to GOD!  
(beat)  
Enough of this horrid business! ENOUGH!

Duraf shoves the blade into her heart. Lucidique gasps.

Looking at her wound, she reaches out and touches it, then with her bloody finger grazes Cascarellian's forehead, leaving a mark.

Like dropping something hot, he lets her body fall to the ground. Duraf runs back to the cars, waving his arms to everyone.

CASCARELLIAN  
Go! Go! Back to the city! Move!

All the men hurry back into the cars.

The convoy hastily screeches away as the sandstorm begins to wash all over everything.

INT. CASCARELLIAN HOUSE, LIVING ROOM-NIGHT

A few men walk around the house along with Duraf and his sons. A BODYGUARD is trying to open the windows, but none will budge.

BODYGUARD  
All sealed tight. And blessed with holy water.

CASCARELLIAN  
What about the chimneys?

BODYGUARD  
All bricked up. And we increased the patrols. There's nobody getting in.

Cascarellian paces around nervously.

CASCARELLIAN  
Okay…okay…I'll…  
(thinking)  
I'll be in my office. I have, um, I think I have a few donations to  
make to the local dioceses. Yes.

He leaves the room flanked by two guards. The three sons look at each other worriedly.

EXT. STREET-NIGHT

Another street in the city that has been ravaged by the crime. Thugs are tossing debris onto a large pyre, hooting and dancing around. Dead bodies of people in nice clothes are tossed here and there.

Off to the side, a man with a face scarred and diseased plays an old rusted saxophone.

INT. CASCARELLIAN HOUSE, LOUNGE-DAY

The three sons are gathered around a pool table. Felinn and Roberi are playing while Demin watches from a corner, drinking from a bottle of Perry.

ROBERI  
How's Papa doing?

FELINN  
He's finally starting to relax again. I was really starting to  
think he wouldn't snap back after all that business.

DEMIN  
It's been over a week and I'm just starting to snap back.

FELINN  
You all have to stop being so damn superstitious.  
Papa got sand in his eyes and lost it.  
(beat)  
Shame about the girl. Quite shapely.

ROBERI  
There are easier ways to get shapely girls.

FELINN  
(grinning)  
Yes, but the more they fight, the better it is.

EXT. CASCARELLIAN HOUSE-DAY

A sandy wind is blowing on the house. The sky greys darker and darker.

INT. CASCARELLIAN HOUSE-CONT.

The wind can be heard howling all throughout the halls. Almost like a snake hissing just behind the doors and windows.

INT. CASCARELLIAN HOUSE, BATHROOM-CONT.

Duraf Cascarellian sits in a warm bath, a glass of wine next to him. He pops two tranquilizers, and takes a long drink.

Exhaling in a relaxed stupor, he lays back in his bath with his eyes fluttering closed. Only the wind can be heard blowing outside.

He sits calmly.

LUCIDIQUE (OS)  
Look at you, naked as a baby.

Duarf's eyes open and he springs up, climbing out of the tub.

He grabs for his towel hanging off the wall, but is halted by Lucidique emerging from the darkened doorway.

She had been TRANSFORMED by Agonistes, just as Kreiger had been.

Her skin, and there is a lot of it on display is a pale white. She is dressed in a small leather top with shoulder length sleeves and a long slit skirt that reveals one leg. While much of her is unblemished, there are areas that most definitely are. Her other legs has all the skin stripped off with only muscle and bone shoved into her boot. Belts and straps hold her clothes close to her body, nails through her skin also perform this task.

Her face is still that of Lucidique, though her brow and cheeks give way to long spikes that jut out. Her hair is now long thick braids that drop down her back. Underneath, there is a hollowed gap where her back used to be. Just a mess of muscle and bone held together by chains.

She too has a collection of large SCYTHE WEAPONS hanging from her waist and back. She is holding a large scythe in her hand.

CASCARELLIAN  
(low murmur)  
Oh Jesus, help me…

Lucidique takes a quick swipe with her scythe. Duraf takes a gulp from the sudden shock then looks down at his bloody groin. He's been CASTRATED.

Grabbing his bleeding crotch, he lets out several yelps and stumbles out of the bathroom, Lucidique stepping aside to let him.

INT. LANDING-CONT.

Naked, with both bloody hands between his legs, Cascarellian screams out.

CASCARELLIAN  
HELP ME! HELP MEEE!

Nobody comes.

CASCARELLIAN  
FELINN! FELINN! ROBERI! DEMIN!

He turns to the sound of steps.

It is an old HOUND DOG trotting in from the kitchen and leaving red paw prints behind. He has a HUNK of something in his mouth. It looks like a man's LOWER JAW.

Lucidique is behind Cascarellian.

LUCIDIQUE  
All dead.

He looks at her, quivering.

LUCIDIQUE  
You seem to be taking your fixing better than they did theirs.

Lucidique strolls over to the dog that is now lying on his belly eating. She plucks something from his meal to look at it close. It is a tongue.

Lucidique snickers and mimics the tongue flicking Felinn did to her in the desert. At this point, Cascarellian is on his knees, weakly staring at the floor.

Dismissively flicking the tongue away, Lucidique walks over to Duraf. Very gently, she takes hold of the back of his neck and lifts him up effortlessly. His limbs just dangling, the blood from his groin spills out on the rug.

Jabbing her blade into his chest, Lucidique cuts. Her expression registers no struggle. She could be slicing through air.

She pulls her blade out with Cascarellian's heart on it.

Looking at the heart, Lucidique drops the body. It tumbles down the stairs.

She studies the heart for a moment with a beguiled look like she's trying to figure it out.

Then she, just as indifferently, flings it off her blade so that it lands near the eating dog.

EXT. CASCARELLIAN HOUSE-NIGHT

Lucidique is leaning in the open front doorway, just looking at the sky.

Leaving the doors wide open, she steps out, taking in her surroundings.

She looks up, slowly twirling around to see the stars above.

Lucidique walks down the walkway to the front gates of the estate.

FADE OUT

FADE IN

INT. GRETA SABATIER'S HOUSE-DAY

GRETA SABITIER, an old woman, is sitting at a table in the middle of her telling room. She is placing Tarot cards on the table. She is obviously a fortune teller of sorts.

A thin, balding man in a trench coat, named BORGOTO, is sitting on the other end of the table, listening to her.

GRETA  
You will meet someone. I can't tell if it's a man..or a woman.

BOGOTO  
What about this person?

GRETA  
This person has friends…allies…it's hard to be sure exactly who or  
what they are…the cards are very ambiguous. But there is harm  
from this source, whatever it is.

BOGOTO  
Harm to me?

GRETA  
Harm to the world.

BOGOTO  
(indifferent)  
Hmm.

GRETA  
That matters less to you, yes?

BOGOTO  
Of course. Do you think I should consider leaving the city?

GRETA  
Well…you're a military man. It's not the first time  
I've seen death in your cards, General.  
(beat)  
But I don't think I ever saw it so near to you.

BOGOTO  
I see.

GRETA  
So yes, I think you should consider leaving. At least  
until the unsettled period is over astronomically.

BOGOTO  
So it's just not in the cards, it's in the stars too.

GRETA  
They're all reflections of one another: cards, stars, palms.  
It's the same story wherever you look.

Greta drops another card on the table. Written at the bottom is "THE TOWER". There is a simple drawing of a tower struck by lightning. The upper half is erupting, raining down rubble and bodies. The lower half is cracked and ready to topple.

BOGOTO  
This is Primordium?

GRETA  
It's the city's future. Or at least one of them.

BOGOTO  
So you will be leaving too?

GRETA  
Yes. I'm leaving. This will be the last time you see me,  
General, unless you should move to Calyx.

BOGOTO  
You're moving to Calyx?

GRETA  
Before things get any worse.

EXT. STREETS-DAY

SOLDIERS, dressed in the uniforms of an unclear army, stand and walk the various streets of Primordium. The occasional derelict peaks out from an alleyway or backstreet, then sheepishly retreats back in. Jeeps with more military men seem to be the only vehicles operating.

INT. PALACE-DAY

The palace has been cleaned up for the most part. While elements of its original state are still visible, generally in the architecture itself, most of it has been pushed into the background.

The Palace has been appropriated as a headquarters for the Military. Solders hustle in all directions Desks have been set up everywhere, manned by more troops. Some soldiers walk through, escorting PRISONERS in handcuffs.

INT. PROCESSING ROOM-DAY

GENERAL URBANO, a large man, with a large bushy mustache, is receiving a report from his soldiers. Several handcuffed PEOPLE IN ROBES are there as well.

SOLDIER 1  
They've been performing these rituals for a few weeks as  
far as we could tell. The bodies were stacked on the altar.  
(beat)  
They were eating them.

Urbano turns directly to the CULT MEMBERS. He approaches them, hands clasped behind his back.

URBANO  
Is that so?  
(to cultists)  
The dead don't get a proper burial from you people? Instead  
they're a midnight snack?

He looks them over, and then turns back to the troops.

URBANO  
Take them to the courtyard and shoot them.  
(to the cultists)  
But don't worry. We won't eat any of you.

INT. GENERAL MONTEFALCO'S OFFICE-DAY

GENERAL MONTEFALCO is as old as the other two generals, though the most handsome. However, his eyes are cold and calculating.

He stands in front of a window with a glass of sherry, looking at the city.

There's a knock at his door.

MONTEFALCO  
Enter.

Urbano enters, removing his cap. Montefalco pays his a glance then goes back to the window.

MONTEFALCO  
How was your hunt, Urbano?

URBANO  
Oh, we caught some memorable individuals. As strange as they  
were, they told even stranger tales under interrogation.

MONTEFALCO  
Haven't they all been lately. Has Bogoto returned yet?

URBANO  
I haven't seen him.

MONTEFALCO  
We should share a drink tonight.

URBANO  
That's a good idea.

MONTEFALCO  
Share some of the stories the troops have been hearing. They're quite entertaining.

URBANO  
Yes…they are. I'll pass the suggestion along when I see Bogoto.

He puts his cap back on and exits, leaving Montefalco to stare.

INT. LUCIDIQUE'S HOUSE, BEDROOM-NIGHT

Lucidique lays in bed, awake, lost in thought. Her sheets halfheartedly draped over her. She too, stares out the window. She has an air of restlessness and dissatisfaction.

EXT. ALLEY-NIGHT

Lucidique is now walking the alley, staying close to the wall, in a cautious manner. Once again, she has on her long coat, hiding most of her form, though her altered head is still visible

After strolling for a minute or two, she stops. She turns to the person a short distance behind her; Kreiger, the Scythe-Meister.

LUCIDIQUE  
I thought you'd left the city.

KREIGER  
I did. For a while. I went out on the desert. Meditated on my changed state.

LUCIDIQUE  
And did you learn anything from your meditations?

KREIGER  
No.

LUCIDIQUE  
So you came back?

KREIGER  
So I came back.

INT. BAR-NIGHT

The three generals, Bogoto, Urbano, and Montefalco, sit in a darkened booth in the back of a mostly deserted bar. A few loners lounge here and there, but nobody is speaking, except for the three men quietly to each other. All have the subtle presence of intoxication.

URBANO  
(dangling a shot glass)  
It is my belief, that this damn city is haunted.

The other two nod grimly.

BOGOTO  
In the beginning, I was willing to write off what I was hearing to  
overactive imaginations, but the stories piled up: This scythe creature,  
ghosts, children, succubi. Supple, beguiling, demons.  
(beat)  
What do we do about it?

MONTEFALCO  
For a start.  
(beat)  
If I had my druthers, I'd burn the illegal immigrant quarter to the  
ground. It's they who engage in most of these unholy goings-on.

BOGOTO  
But the work-force. Who'd empty our shit cans? Who'd bury the lepers?

MONTEFALCO  
(nodding)  
Yes, yes.  
(beat)  
At least we could target any element we suspect of intercourse with demonic forces.

URBANO  
Good, good. Vigilance.

MONTEFALCO  
And punishment. Swift, draconian measures.

BOGOTO  
Public executions?

MONTEFALCO  
Yes.

URBANO  
Burnings?

MONTEFALCO  
No, too theatrical. Shootings are clean and fast. And they don't smell.

BOGOTO  
That bothers you?

MONTEFALCO  
I loathe the smell of burning bodies.

INT. LUCIDIQUE'S HOUSE BEDROOM-DAY

His clothing laid out on a table, Kreiger stretches out naked on Lucidique's bed. He is covered in scars and open wounds. They are gruesome, yet have a clear artistic meticulousness to them. They are decorative and purposeful, not random or angry.

Most of his harnesses have been removed, but there are still parts attached, as are other silver and gold pieces fastened though his skin in places. Both his wounds and piercings glisten in the shafts of light.

Lucidique stands in the corner of the room, admiring him.

Not speaking, she slowly unfastens the straps on her own ensemble, and removes the various articles, revealing her own naked, scarred, and modified flesh.

She walks to the bed and climbs on top of him, their eyes locked.

The two hold close, breathing heavily.

They kiss.

They make love. Their hands caress and probe over each other's skin, as well as the open wounds, and metal. Both of them gasp with bursts of both pleasure and pain. They clutch each other at all types of areas, though nothing would give way as the work on their bodies was very stable and strong.

They writhe, their passions grow more intense. Both sweat and faint glazes of red begin to coat their bodies.

They climax, Lucidique's head arches back, her arms out, as if she is reaching the sky.

INT. LUCIDIQUE'S HOUSE BEDROOM-NIGHT

The lovers lay in the bed, staring at the ceiling.

LUCIDIQUE  
There is a heretical volume in the Vatican Library called "A Treatise on the Madness of God".  
It was written by Cardinal Gaillema in the mid-seventeenth century. He argues that  
the account of Creation offered in the Book of Genesis is wrong in several areas.  
He argues that on the seventh day, God did not rest. Instead, in a state of ecstatic fugue,  
God continued to work. These creations he summoned up in his exhausted state were the  
antithesis of the wholesome forms that he made in the first six days. They were destroyers  
and demons that defied all the earlier beauty of his previous work. And one of these  
creatures was Agonistes. This is why Agonistes can pray to his father  
and expect to be listened to. This is why he is among God's loved.  
(beat)  
We are both Agonistes' children. I wonder if he'd approve.

KREIGER  
He does.

Lucidique looks at Kreiger.

LUCIDIQUE  
You saw him in the desert?

KREIGER  
Yes.

LUCIDIQUE  
And he sent you back here?

KREIGER  
Yes.

LUCIDIQUE  
To find me?

KREIGER  
To be with you. He said you were the only thing that would make me happy.

EXT. ROAD-NIGHT

A black Sedan rolls up a dirt road in the middle of a large area of empty burned out lots and broken buildings.

INT. SEDAN-CONT.

Inside the car are the three generals. Montefalco is driving.

URBANO  
At some point, you will inform us where we are going  
in the middle of the night.

MONTEFALCO  
There's a man called Doctor Talisac who has been conducting  
experiments on my behalf for several years now.

URBANO  
What sort of experiments?

MONTEFALCO  
I hoped that he would perfect me a soldier. Make a  
fighting machine that was not susceptible to fear.

BOGOTO  
Has he succeeded?

MONTEFALCO  
No. Not so far. Nor do I have a great hope for him now. He's addicted to  
many of his own medications, and…well you'll see for yourself. But there  
was one failure of his which might be useful to us now.

BOGOTO  
(grinning)  
A useful failure?

MONTEFALCO  
We need a creature that will drive the unholy elements out  
of Primordium. I believe he has such a creature.

URBANO  
Ah. Where is the doctor?

MONTEFALCO  
I have him hidden away in what used to be the Hospice of  
the Sacred Heart, on Dreyfus Hill.

BOGOTO  
I thought that place was empty.

MONTEFALCO  
That's the impression I intended to give to the world. If anyone  
ventures there, I have them killed and thrown in the canal.

BOGOTO  
Is that what happened to the nuns?

MONTEFALCO  
(smiling)  
Nothing so humane, I'm afraid. Soldiers can be so brutish if left to  
their own devices.

INT. HOSPICE OF THE SACRED HEART-NIGHT

The three generals enter the pitch black lobby of the hospice. Very little can be seen, though the place is clearly in disrepair. The generals enter, but don't venture too far beyond the moonlight of the doorway.

Approaching them is a low flickering light, a candle light.

It is a dwarf wrapped in an old fitted banyan and slip on shoes, CAMILLE. She uses her candle to light other candles that she hands to each man.

CAMILLE  
I am Camille. Follow me, please.

The foursome stride into the dark.

INT. LABORATORY-NIGHT

Camille leads the men down a long steep staircase to the lab.

The laboratory is immense, dug out of the earth. The walls and floor are beaten, hardened dirt. There are surgical tables and medical equipment. There are also many DEAD BODIES scattered all over the ground. They are missing parts here and there, a leg, an eyeball, but otherwise undisturbed. The amputations were all cleanly cut. These dead are raw materials.

The three generals hold their noses. Their faces scrunch from both the smell and sight.

URBANO  
So where is he?

CAMILLE  
(pointing)  
There is the doctor.

There is something in a lit but dank corner. The generals step over the veritable carpet of bodies to approach, followed by Camille.

As they near, they can see him better, and slow down.

Pale and clammy, DOCTOR TALISAC is a thin, naked man hanging limply from a large mechanical stand. There are chains and hooks going from the stand to parts of his face and this is how he's suspended, his mouth and brow pulled tight.

There are IV's and surgical tools hanging on the stand. The IV's are feeding blood to the body. There are also open cuts here and there on him with scattered stitching and staples.

The most notable thing about him is the SEMI TRANSLUCENT SAC that is imbedded between his legs. It's an EXTERNAL WOMB filled with fluids and a lump of something else, a fetus.

They all focus on the womb.

CAMILLE  
A Mongroid.

Montefalco give Camille a sideways glance, then steps forward to address the doctor.

MONTEFALCO  
Doctor Talisac. You look..different..from our last meeting.  
You always manage to look different from meeting to meeting.

Not looking at them, Talisac lifts his hand in a waving, trivializing manner.

MONTEFALCO  
Talisac. We need something from you.

Talisac turns his fluttering eyes to Montefalco. He says something, but the restrictions on his mouth render them incomprehensible.

CAMILLE  
He says "What? What do you need?"

MONTEFALCO  
(raising his voice)  
We need a fiend to put fear into the heart of the Devil himself. A beast  
among beasts. Something to scour the city of monsters by being more monstrous.

Talisac makes a strange sound which could almost be laughter. His body trembles on the hooks and the thing in his womb then spasms.

Behind his hand, Bogoto whispers to Urbano, motioning to the womb.

BOGOTO  
(whispering)  
How the hell did he come by that thing?-

CAMILLE  
Don't whisper! He hates it.

URBANO  
(to Camille)  
He was wondering how Talisac got himself pregnant.

Concentrating an effort, Talisac presses his lips together to utter a reply.

TALISAC  
Science.

URBANO  
Really?

Urbano steps over more bodies to get a closer look at the womb, and the strange lumpy creature inside.

URBANO  
I'm pleased to hear that. I would have been distressed if there's  
been some sexual impropriety here.

Talisac laughs again. The Generals don't.

The doctor mangles some more words which Camille translates.

CAMILLE  
The doctor has a Golem that he thinks would suit your purposes  
very well. He only asks one thing in return.

MONTEFALCO  
And what's that?

CAMILLE  
That you shouldn't attempt to hurt any of his children.

MONTEFALCO  
(nodding towards the womb)  
Meaning that?

CAMILLE  
It is his child.

Montefalco shrugs.

MONTEFALCO  
No harm will come to your Mongroid, if we are given a fiend of  
our own. I will personally guarantee that.

CAMILLE  
Good.  
(beat)  
He would prefer if you did not come here again together.  
Only General Montefalco.

Bogoto is the first to turn for the stairs, waving his hand away as he spoke. Urbano follows behind, though Montefalco merely watches.

BOGOTO  
You'll get no argument from me on that account. If he gives us our  
monster, then he can give birth to a thousand little brats as far as  
I'm concerned. Just keep them the hell away from me.

As they head up the steps. Montefalco turns back to Talisac, eyeing his unborn child, and then looking back at the man.

MONTEFALCO  
(nodding in farewell)  
Doctor..

Montefalco turns and heads for the stairs, leaving the doctor, the dwarf, and a hundred dead bodies behind.

INT. LUCIDIQUE'S BEDROOM-NIGHT

Lucidique is sitting naked on the sill of her open window. Kreiger is leaning on the wall next to her in the dark. Off to the side is their bed, heavily stained with sweat and blood.

LUCIDIQUE  
This can't last for long, you know. This thing between us.

KREIGER  
Why not?

LUCIDIQUE  
For two such as us to find some happiness together. It's against nature.  
You killed my father. I should hate you.

KREIGER  
And you put me through hell at Agonistes' hands. I should hate you.

LUCIDIQUE  
What a pair we make.

KREIGER  
Maybe we should go back out into the desert. We'd be safer there.

Lucidique laughs.

LUCIDIQUE  
Listen to you. Safer! Isn't the world supposed to be  
afraid of us? Not the other way round.

KREIGER  
I just want to hold on this…hope that I feel.

Lucidique reaches out to Kreiger, running her blade across his arm.

LUCIDIQUE  
We can't leave Primordium.

KREIGER  
Why not? It's going up in flames sooner or later. Let it burn.

LUCIDIQUE  
But love, we started the fire, you and me. We should stay and watch it to the end.

KREIGER  
(smiling)  
If that's what you want.

LUCIDIQUE  
It's the way things have to end.

KREIGER  
End? Why do you say that?

LUCIDIQUE  
Hush Love, it'll be better this way, you'll see.

Lucidique climbs off the sill. She gently pulls Kreiger in front of the window so they are now both illuminated.

She kisses him.

LUCIDIQUE  
Do it for me.

KREIGER  
That's as good a reason as I ever heard.

LUCIDIQUE  
So you'll stay.

KREIGER  
I'll stay.

INT. TALISAC'S LAB-NIGHT

Deep in his laboratory, Talisac is working on a LARGE BODY, covered by gauze. The torso is cut open and Talisac is placing a large heart inside it. The heart itself is modified, sewn together from what appears to be multiple smaller hearts.

Talisac is still hanging from his apparatus though from chains hooked to his back and the back of his head. His mouth is freed, though small wires are still connected from the top lip to the bottom but with enough slack for him to talk.

The operating table itself is set very high for him to reach in his elevated state. His movements seem to bring him pain as he grimaces and grunts while operating, yet looses no precision.

Camille rolls over a metal cart, one higher than her. On top are several freshly cut slabs of flesh. Talisac doesn't take his eyes off his work as he stitches fresh veins into the heart.

TALISAC  
Thank you Camille.

He shudders for a moment. The creature in his womb is stirring.

TALISAC  
It will be soon. I will give birth to my child.  
(looking up)  
It will be a virgin birth. Pure and blessed. It will usher in a new  
age for humanity. A second…coming.

The Mongroid stirs again, causing visible discomfort in Talisac. He grimaces with his teeth clenched and eyes closed, then his body relaxes.

TALISAC  
(to Camille)  
Leave me. I have been alone my whole life, I need nobody now.

Camille walks away, leaving him alone in the lab.

TALISAC  
It will be me and my child, and everything will be okay until the end of time.

He goes back to working on the body.

INT. MONTEFALCO'S OFFICE-DAY

A SOLDIER is standing in front of the general's desk, reporting.

SOLDIER  
It's a house on Diamanda Street, sir.

MONTEFALCO  
Diamanda Street? That was one of the nicer parts of town. Not too far from here.

SOLDIER  
All the other houses are deserted, but people are  
said to reside in this one. Um, strange people.

MONTEFALCO  
Strange in what way?

SOLDIER  
Uh,..strange, uh sir?

Montefalco makes an impatient beckoning motion with his fingers.

SOLDIER  
People are saying they are monsters, or ghosts, or something like that.  
We went to the house and there were people gathered all around,  
watching the windows and leaning up to listen. Lights are on the in  
house and all sorts of things can be heard.  
(uncomfortable, blushing)  
We approached but we started to get a...feeling.

MONTEFALCO  
What did you see, soldier?

SOLDIER  
Nothing, sir. We could only hear them…doing…such extraordinary things.

MONTEFALCO  
(beat)  
You are dismissed.

SOLDIER  
Yes sir.

The soldier leaves the room. Montefalco opens his desk drawer and pulls out a Luger, checking it.

EXT. STREET-NIGHT

Montefalco parks his car in the dark under a tree. He quietly steps out.

Dressed in a trench coat and fedora, Montefalco observes the area.

EXT. LUCIDIQUE'S HOUSE-NIGHT

Emerging from the neighboring street, Montefalco casually, but stealthily walks to the house. As described, the other houses are dark, but this one has soft golden glows from all the windows. Fireflies dance, adding a multitude of twinkling smaller lights to the home.

Montefalco nears the residence. Two HOMELESS PEOPLE are pressed up against the wall, peaking through a window.

The general walks away from their direction around the house. As he surveys, he sees another person, A WOMAN, sitting in the grass. She is just staring at the house almost in a trance-like state. Montefalco walks past her unnoticed.

Montefalco steps up to an open window, peering in. While the blinds are closed, He can see through the parting when close enough.

Shapes can be made out moving inside.

It is Lucidique and Kreiger, naked. He slams her down on the dinning room table in the throes of fervor.

They are kissing and licking each others bodies. They dig deep inside their gashes, and pull out bloody fingers which they then suck, both laughing and growling all the time. They suckle on the flaps of each others open skin. After a minute of this, they violently throw their bodies to a different part of the room, slamming against each other almost brutally.

They are biting and scratching each other, making new cuts and holes. Their screams grow louder and more orgasmic.

Kreiger steps away from Lucidique, tasting his fingers. While she hungrily watches him, he pulls a POKER from the fireplace, its tip RED HOT.

KREIGER  
I believe tonight it is you that shall bear some prose.

Lucidique licks her lips, tears flowing down her cheeks. Kreiger approached her

LUCIDIQUE  
Oh please make it a long chapter. Write your finest work.  
Write on my heart! Confess it all under my flesh!

The sound of burning and screaming, Montefalco is transfixed. His head beaded in sweat; a look of horror and confusion all over. His hands are trembling.

He steps away from the window.

URBANO (OS)  
Montefalco!

Montefalco turns to see Urbano standing there, a pale pallor on him, half panic, half shame.

They both regard each other for a moment. Montefalco regains his composure. A stern look crosses him.

MONTEFALCO  
(calm)  
These we kill.

Urbano nods weakly, then suddenly looks away. The sound of him vomiting could be heard.

Montefalco waits as Urbano looks back to him, a handkerchief to his mouth, almost coquettishly hiding his face.

He pulls the handkerchief away and glares to Montefalco with the same grim resolve.

URBANO  
Yes.

MONTEFALCO  
Yes?

URBANO  
Yes. These we kill.

INT. TALISAC'S LAB-NIGHT

Montefalco descends the steps to enter Doctor Talisac's lab. As he walks in, he observes the scattered corpses, which appear different than before.

All the bodies are in a new condition. It's as if all the moisture had been drained from their forms, leaving them withered. Their eyes are gone and their lips are drawn back from the teeth. The flesh and meat is thinly clinging to the bones.

Montefalco taps a body with his shoe and the fragile cadaver cracks like old paper.

He notices Camille approaching. Dressed in a flea bitten fur coat, she gingerly steps over the bodies though they still snapped and cracked underfoot.

MONTEFALCO  
Is it done?

CAMILLE  
Yes it is done. The Doctor believes you will be very pleased.

Talisac calls from his corner.

TALISAC  
Camille.

They both glance at Talisac, still hanging like before when he was operating. His arms are outstretched while he speaks, giving him an inadvertent crucifixion homage.

TALISAC  
Unveil it for the General.

Montefalco looks around the room, finally settling on a LARGE FORM at the end of the chamber. It is covered with a makeshift tapestry.

MONTEFALCO  
That?

The general swiftly approaches it, stepping on the dead people littered in front. Fragments of dried bodies dust up in all directions.

Montefalco reaches the form and pulls the tapestry off.

TALISAC  
Venal Anatomica.

It is a muscular, powerful creature, about nine feet tall. It is mostly clothed in leather. There are only little areas of flesh showing and on that skin is heavy stitching. There are many wounds, particularly on the arms which have several nails coated with dried blood.

There are also several large weapons fixed firmly to it. Hooks and knives attached to the wrists and shoulders. There are also spiked metal balls and weapons dangling from chains off of him.

The bottom half of the head is very disfigured, constrained by leather and revealing the teeth in a unintentional grin. The top half of the head is covered by a translucent flap of skin.

In many ways, it looks like the work of Agonistes, but in other ways it is the exact antithesis. Where Agonistes and his creations are precise and methodical, this creature is brutally cobbled together. There is no artistry to this. It is a creature of blunt function.

Venal Anatomica moves, and fresh blood oozes from many of its wounds and stitches. However, it seems very solid and potent.

MONTEFALCO  
Does it know me?

TALISAC  
Yes. It is ready to obey your instructions. It has no loyalty to its creator,  
only to you, General Montefalco.

MONTEFALCO  
That's good to hear.  
(motioning at it)  
Come on then.

Venal Anatomica takes a large, uneasy step, then another. Becoming more confident, it follows Montefalco who starts to leave.

CAMILLE  
Can I come with you?

Montefalco regards her for moment. Her eyes open in a pleading tone like a small child.

MONTEFALCO  
Come on.

Montefalco, Camille and Venal Anatomica all ascend the staircase, leaving Doctor Talisac hanging alone. He is no longer even looking at them, but lost in his own thoughts.

INT. LUCIDIQUE'S HOUSE-DUSK

Lucidique lounges in a chair in front of a large open window letting the setting sun bath her. She takes a bite out of an apple. Kreiger is sitting on a nearby table.

KREIGER  
I find the house beginning to affect a strange air.  
I believe it's the odor of our relentless activities.

LUCIDIQUE  
I know. It's a bitter smell. I do not like it.

KREIGER  
I think some flowers from your garden can conceal it.

LUCIDIQUE  
Wait. Some of the strangest scents belong to the blossoms that  
don't open until after dark. Watch the sunset with me.

Kreiger sits on the floor near her. He places his head against her waist which she strokes.

LUCIDIQUE  
Every sunset feels so profound to me now, as if the world changes  
dramatically every day; a new, different world every day. It's frightening.  
My dreams are frightening. What waits for us all in the new world?

KREIGER  
Perhaps it doesn't matter, because the world only lasts a day.

She smiles at him, then looks back to the window with a worrying, sad look.

INT. TALISAC'S LAB-NIGHT

Doctor Talisac is operating on a tendon in his own left arm. Abruptly, he cries out in pain. His gut convulses.

He looks down. His womb is spasming. The thing inside is moving rapidly.

TALISAC  
(excited)  
Yes! Yes! It is time! It-ARRRRRAGGGGGH

He face stiffens in a red rictus of anguish. The child inside is pushing against the walls of the sack. Talisac twists on his hooks and cries out in pain, tears rolling down his cheeks.

EXT. LUCIDIQUE'S HOUSE, GARDEN-NIGHT

Kreiger is kneeling in front of some blossoms, stroking them with his fingers. He takes a whiff and smiles at the smell.

He uses his small blade to cut the blossom stem. He is placing a small collection of blossoms in front of his knees.

Then Kreiger eyes widen. He looks straight ahead. Nothing is there. Rather, it's the look of someone who just knows.

He turns to look behind him, and a MASSIVE HAND grabs him by the face.

INT. LUCIDIQUE'S BEDROOM-NIGHT

Lucidique calls out her window to the garden below.

LUCIDIQUE  
Kreiger?

She sees nobody in the garden.

LUCIDIQUE  
Krieger?

Her eyes spot something; a form deep in the shrubbery.

Her brow furrows suspicious.

EXT. GARDEN-MINUTE LATER

Dressed in her silk robe, Lucidique steps out into her garden. In each hand is one of her weapons. A soft breeze can be heard, but nothing else.

She confidently moves though the labyrinthine garden as someone who clearly knows the way. Her head darts all around, searching.

She stops.

A small distance in the bushes, something large is lumbering. She watches it circle closer, dragging its left leg behind.

She tightens her grip on her blades.

Krieger's voice could be heard, though it sounds distorted.

KREIGER (OS)  
Lucidique! Get away from here! Quickly!

She tries to zero in on the location of the call. She looks back to the creature that was now right in front of her.

Venal Anatomica swings its long hooked arm out at her, though Lucidique falls back in time to dodge it. The giant lets out a terrible ROAR.

Lucidique hops to a ready position, though she is afraid.

The hood of flesh on Venal Anatomica's face slides back, exposing black eyes within skeletal features. Getting a good look at her, it quickly staggers forward, swinging.

Lucidique dodges its attacks, and makes a few swipes with her own knives. She connects with it and makes new long cuts in its side. Blood pours out but the creature doesn't seem fazed.

Lucidique backs away.

KREIGER (OS)  
Go! Now!

LUCIDIQUE  
Kreiger! Where are you?

She continues looking in the general direction of his voice.

Then she sees his body on the ground in a POOL OF BLOOD.

LUCIDIQUE  
Christ!

She tries to run to Kreiger's body, but Venal Anatomica steps in her way to make a grab. She dashes back, looking between Kreiger and her assailant, trying to make a decision.

With a look of reluctance, she runs the other way. Venal Anatomica stomps right behind her, movingly slowing but taking greater steps.

Lucidique tries escaping though the layout of the garden, but the monster just breaks though the thorny bushes after her, letting out an awful guttural howl.

Lucidique spies a LARGE FULL TREE and runs for it.

She leaps, and is already halfway up the tree. She quickly hikes the remainder.

Lucidique is then hidden within the leaves, looking down at the creature, her blade ready.

It stomps towards the tree, scanning around. It inches closer, trying to locate her.

LUCIDIQUE  
(whispering)  
Come to me. Take your last breath and come to me.

Up in the tree, she braces herself in an attacking pose like a cat ready to pounce.

About six feet from the tree, Venal Anatomica stops. It sniffs the air and looks at the tree, cocking its head to one side.

Lucidique watches.

Venal Anatomica lets out a low moan and steps away, going back the way it came.

LUCIDIQUE  
No. Come back.

It disappears among the foliage.

LUCIDIQUE  
Where are you going?  
(realization)  
Oh, God no.

A low MOAN from Krieger can be heard. Lucidique's defensive expression gives way to fear.

LUCIDIQUE  
No. Don't.

Venal Anatomica reappears, DRAGGING SOMETHING behind him.

It is Kreiger's body, bloody and mangled. He leaves a thick, wet trail behind him.

The giant stops in the same spot as before and reaches down, grabbing Kreiger's barely conscious body by the neck.

Lifting him with one hand, Venal Anatomica hoists Kreiger's body high off their ground, pointing his battered face at the tree, the amount of damage now visible.

LUCUIDEQUE  
Zales…

Kreiger's head is ripped open at the mouth. Flesh and muscle are torn from the body, exposing the breastbone, ribs and longbone of the thigh.

Kreiger's head lolls on his neck, and his eyes roll back into their sockets, he is barely still functioning.

With its free hand, Venal Anatomica beckons to Lucidique. It twitches Kreiger's head back and forth like a rag doll, blood continuing to dribble below.

Lucidique's face swells into an explosion of rage.

Screaming, Lucidique leaps out of the tree. Venal Anatomica swats its free arm. It catches her, but as it does, Lucidique jabs her blade over its body, stabbing it deep in the back.

Throwing both Kreiger and Lucidique down, it reaches around with both hands to get at the blade.

Lucidique and Kreiger are on the ground. She looks at his mangled body, then up at Venal Anatomica who is ripping the deeply jabbed blade out of its back and tossing it aside.

Venal Anatomica takes one of the maces from its belt. Lucidique scoops up Kreiger's body.

Venal Anatomica slams its mace down on the ground, just missing Lucidique who dashes away with her lover.

EXT. FORCOURT-CONT.

The killer's roars still audible, Lucidique races to her Ford. She opens the back door, and gently lays Kreiger's body in the back seat. She then runs to the front door, climbing in and starting the car.

Hitting the gas, the car pulls out haphazardly into the street and speeds away from the house.

EXT. PRIMORDIUM FRONT GATES-NIGHT

Lucidique's car speeds though the open gates out into the desert.

INT. LUCIDIQUE'S CAR-CONT.

She is searching all around as she drives.

EXT. DESERT-CONT.

The car screeches and spins to a stop.

Lucidique jumps out of the car, looking in all directions.

There is nothing but the quiet desert, not even a wind.

LUCIDIQUE  
(desperate)  
Where? Where are you?

She drops to her knees, cups her hands to her chest and lowers her head, quickly reciting her prayer.

LUCIDIQUE  
'O Agonistes, dark deliverer, make me in the image of my enemies' nightmares.  
Let my flesh be the stuff from which your carve their terrors;  
let my skull be a bell which sounds their death-knell.

She looks around again. There is still nothing.

She goes back to her praying.

LUCIDIQUE  
Give me a song to sing, which will be the song of their despair, and let  
them wake and find me singing it at the bottom of their beds. Unmake  
me, unknit me, transform me. And if you cannot do that for me, Agonistes, then  
let me be excrement; let me be nothing; less than nothing. For I want  
to be the terror of my enemies, or I want oblivion. The choice, Lord, is yours.

Lucidique waits.

She stands upright again, walking a few steps in different directions, and then impatiently stepping back.

She drops to her knees in prayer pose again.

Lucidique sits in silence for a few seconds.

Her body slumps in defeat.

She walks to her car and opens the back door. She pulls out the body of Kreiger.

She lays Kreiger on the sand gently. On her knees, she cradles his head in her hands. It is a lifeless, shattered head.

Lucidique stares at him in despair.

Letting his head rest on the sand, she lays her body sideways next to his, and closes her eyes, tears breaking from them.

INT. TALISAC'S LAB-NIGHT

Talisac is still nauseously screaming, drenched in perspiration. The creature in his womb convulses tremendously.

Finally, small clawed hands begin to emerge from the sac, ripping it open wider and wider. The Mongroid is clawing its way out.

Talisac screams at the top of his lungs. In a sudden gush of blood and fluids, the child drops to the floor below him.

Talisac quiets, panting and softly sobbing.

He begins to regain his composure and looks down at the creature which is squirming and scrambling on the ground in a puddle of fluid.

TALISAC  
I did it. I gave birth.

The small Mongroid is moving, and unexpectedly, it is on all fours. In place of feet, it has four hands and is walking somewhat crablike.

Slow at first, then surer of itself, the Mongroid takes some steps sideways. Its head is more evolved than that of a newborn; it looks like a deformed adult's head. It releases strange sounds like pig whines.

TALISAC  
Come here. Hey, come to me.

The small Mongroid doesn't pay attention to him. It curiously scuttles around.

As he watches, Talisac's enthusiasm starts to wane.

TALISAC  
(disappointed)  
No. You're not immaculate at all.

It walks over to one of the dead bodies on the floor.

It nudges the body with its head. Talisac just watches with a disillusioned expression.

The Mongroid then notices the doctor. It looks up at him quizzically and walks sideways towards him. As it does this, it glances at all the other dead bodies, then back to the doctor.

TALISAC  
(encouraging tone)  
That's right. They're dead. They're no use to you.  
I'm the one you have to help. I'm your father.

The Mongroid continues looking in all directions.

TALISAC  
(to himself)  
Not a success. But I can try again. I just vivisect this one  
to see where my errors are. In time, it will be perfect.

The creature is drawn to the puddle of fluids that drips from the birthing womb.

It sticks its tongue in the puddle tasting the blood fluid.

TALISAC  
(faintly revolted)  
No! Don't do that!

The creature tastes the pool a few more times then traces the pool to its source.

TALISAC  
Bad! You don't want that! Bad!

The Mongroid then gives Talisac an intense look. The doctor's eyes widen and he swallows with his growing fear.

TALISAC  
(nervous)  
No!...that's...that's bad!

The Mongroid's belly starts to tremble and distend. Something is happening to it internally.

TALISAC  
CAMILLE! CAMILLE!

Talisac grabs at his harness but can't manage to disengage himself from it.

A rumbling is coming from inside the Mongroid's expanding belly.

The skin rips open, exposes a VAST MOUTH arrayed with glistening fangs. It lets out a slobbering growl.

TALISAC  
JESUS! OH JESUS!

The Mongroid jumps up off its four hands, and snaps its jaw like a shark, taking a giant bite out of Talisac's gut. His face shudders blankly for a second, then drops loose and lifeless.

The remainder of Talisac's organs drop out of the open hole left in his body. They splatter on the ground next to the Mongroid now chewing and swallowing its meal before letting out another roar.

EXT. DESERT-DAY

Lucidique is still lying next to Kreiger.

EXT. DESERT-NIGHT

Using her bare hands, Lucidique is digging a hole next to Krieger's body.

EXT. DESERT-DAY

Lucidique is lying next to a freshly buried grave.

EXT. DESERT-NIGHT

Lucidique is asleep.

Rain drops begin to fall. She awakes.

She looks up at the sky, squeezes her eyes closed in a despondent manner.

Lucidique looks at the city in the distance. An angry determined look crosses her face.

She climbs to her feet.

INT. MONTEFALCO'S OFFICE-NIGHT

The three generals sit in varied chairs. Montefalco is behind his desk. Only a single small light provides illumination in an otherwise darkened room. They are all drinking vodka from small glasses.

Urbano is pouring absinthe into his glass.

BOGOTO  
I don't know how you can drink that swill.

Urbano downs his drink.

URBANO  
Sometimes, enduring something horrible  
makes everythingelse sweeter by comparison.

BOGOTO  
Tell that to my marriage.

The office door opens, seemingly by itself. The hallway beyond it is pitch black.

All three watch. Footsteps can be heard.

Lucidique appears from the dark, clad in her uniform and weapons. The other two men are slightly alarmed. Montefalco doesn't seem surprised at all.

MONTEFALCO  
Well well well. The daughter of Senator Marcus returns.  
I wonder what he'd say if he saw you now.

LUCIDIQUE  
One of the few advantages of my father being so very dead.

BOGOTO  
How did you get in here?

LUCIDIQUE  
Don't worry. I've killed none of your guards.  
(beat)  
It is only you I want tonight.

MONTEFALCO  
Revenge is it? You should know that we had no choice.  
We cannot let…monsters…like you propagate in this city.

LUCIDIQUE  
I'm afraid I have to disagree.

MONTEFALCO  
If that's the case. Then we will decide the monsters.

The WALL SMASHES DOWN next to Lucidique. Venal Anatomica bursts through. Lucidique backs out the room with it following.

INT. HALLWAY-CONT.

Lucidique backs into the darkened hall. Venal Anatomica is silhouetted in the office door, climbing his massive frame though.

Once exited, Venal Anatomica slams its mace into the floor repeatedly, approaching Lucidique.

Lucidique tries to rush the creature, quickly slashing it across the chest but it doesn't stop. Venal Anatomica swings its massive arm, knocking her against the wall.

INT. HALLWAY-SAME TIME.

In another hallway, GUARDS rush to the door as the commotion can be heard on the other side. They push and pull but can't open it.

GUARD 1  
(grunting)  
It won't open.

GUARD 2  
Pull harder.

GUARD 1  
It's sealed or something.

GUARD 3  
Shoot it! Shoot it!

The troops fire their pistols at the door knob and lock, and try kicking the door.

INT. HALL OF CERMONIES-SAME TIME

Lucidique runs into a darkened hall. Venal Anatomica is right behind her. The lights from the large stain glassed window provide some illumination.

In the larger room, she hops a few feet away from it. Getting a good distance, she stands ready to fight.

Venal Anatomica swings its mace again, but this time she cuts the chain with her blade. It snaps, and the mace flies off to a corner.

It comes at her with its hook. The two clang their weapons repeatedly. Venal Anatomica keeps trying to strike her. Lucidique is blocking the blows, but Venal Anatomica has the strength, and pushes her back.

INT. HALLWAY-CONT.

Urbano and Bogoto are at the door at the end of the hall, but can't open it. One of Kreiger's scythes is jammed through the lock. Bogoto tries pulling the scythe out, but it is equally immovable.

BOGTO  
Ungh! I can't pull it out.

He pulls away with bloody hands. Urbano has his pistol ready.

URBANO  
Come on. We'll go around.

They run off.

INT. HALL OF CEREMONIES-CONT.

Venal Anatomica reaches up, and PULLS THE CHANDELIER out of the ceiling.

Holding it by the chains, it swings the light, back and forth. Eventually connecting with Lucidique. She lands a few feet on the ground.

Venal Anatomica swings its blade down, but Lucidique blocks it using the strength of both hands on her own blade.

With its other arm, it grabs Lucidique by the neck, and throws her. Lucidique crashes THROUGH THE WINDOW.

EXT. PALACE-CONT.

Flying out into the down-pouring rain, Lucidique grabs a gargoyle a few feet down. She hangs off the statue.

INT. HALL OF CEREMONIES-CONT.

Venal Anatomica approaches the wide open window. It stands on the edge, looking out for Lucidique.

EXT. WINDOW-CONT

Hanging off the gargoyle with one hand, Lucidique has braced herself behind it, leaning against the wall.

She readies her blade.

INT. HALL OF CEREMONIES-CONT.

Venal Anatomica looks all around the outside.

It opens the skin flap from its eyes to peek closer.

Lucidique swings back into the Hall through the window, slashing her blade. She cuts right across Venal Anatomica's EYES. Lucidique hits the floor a few inches away, while it screams out in a roar that sounds closer to panic than rage.

Lucidique watches it flail its arms around, stumbling and roaring.

She rushes up, and with a kick, sends it out the window to the courtyard below.

Lucidique stands at the edge of the window, looking down.

EXT. COURTYARD-CONT.

Venal Anatomica is still alive. In fact, the fall did very little damage to it. The blinding did impact it greatly. Climbing back to its feet uneasily, it howls like a wounded animal, stumbling and flailing some more.

Its howls lower into wounded moans and whimpers.

INT. HALL OF CEREMONIES-CONT.

Lucidique picks up Venal Anatomica's severed chain and mace as she walks.

INT. STUDY-CONT.

Urbano and Bogoto are running the rooms trying to find a way out. They reach another door.

It opens.

URBANO  
This one's open.

Lucidique enters through the door, SLASHING URBANO in the face.

Screaming, he fires his gun haphazardly, but Lucidique is able to dodge the shots, and continues slashing. Disoriented, Urbano drops his gun.

Bogoto screams in a panic and retreats to a far wall of the room, watching.

Lucidique slices Urbano's face over and over and over as she backs him further.

Finally, in a grit-teeth rage, Lucidique JABS HER BLADE into Urbano's face and throttles it, digging out his face like one would a pumpkin.

Urbano's body, with a huge crater where his face used to be, falls to the floor. Lucidique moves toward Bogoto who is still screaming hysterically.

Holding the mace end of Venal Anatomica's former weapon, she quickly walks up to Bogoto and JABS THE MACE into his open mouth.

Shoving him down to the floor, she pushes the mace in deeper and deeper until it is lodged a good distance down his throat.

Lucidique takes a smaller knife from her arsenal. She threads it through the last available link in the chain that is still dangling out of Bogoto's mouth and jabs the blade into the wall.

She leaves Bogoto whose body spasms and flounders, trying to pull itself free from the wall. More and more blood erupts from his mouth, attempts to scream muffled by the metal intruder.

INT. MONTEFALCO'S OFFICE-NIGHT

Montefalco remains standing behind his desk, watching the open door and the dark hallway behind.

He can hear Lucidique's footsteps. Then she can be seen coming towards the office.

Montefalco has his gun pointed at the doorway, a look of silent terror frozen on him.

She is entering the room.

Montefalco sticks the gun to his own temple.

Lucidique suddenly shifts to the side, and in a heartbeat is behind him, her hand on the gun.

LUCIDIQUE  
No, we don't.

She hits him in the head and he falls unconscious.

INT. SEWER-LATER

Montefalco is awaking. He chokes a little bit from the water running over his face. He has been laid on the ground in the SEWER SYSTEM. There's a small trickle of blood on his head where he was hit.

He looks up and Lucidique is above him, hanging off the ladder. The moonlight from the open manhole above is lighting her.

LUCIDIQUE  
Yes, thank you for seeing me General.

MONTEFALCO  
Why don't you just kill me and get it over with.

LUCIDIQUE  
I'm not killing you, General. I just wish to pay you back. When I  
first returned to the city, I did some research. Being the daughter  
of a Senator, I know where to find all kinds of information when I need it.  
(beat)  
I found Doctor Talisac…or what was left of him. I found his notes. I know  
that it was one of his monsters you sent after me.  
(beat)  
So now I'm sending one of his monsters after you.

A STRANGE HORRIBLE GROWL is heard from the dark sewer tunnel behind Montefalco. He stares in the direction, afraid.

MONTEFALCO  
What was that?

LUCIDIQUE  
Another of Talisac's monsters. I guess, in a way, the brother of your  
monster. It's grown remarkably fast since I've last seen it.

The roar is heard again, louder. Lucidique climbs the ladder.

LUCIDIQUE  
See, we are all monsters, General. You, me. Primordium will always  
be home to monsters. All snapping and biting, and some of us will eat  
and some of us will be eaten. It's just the face of the monsters that  
changes. And if that is the case…  
(beat)  
Then I will be the most monstrous of all.

She climbs through the manhole, closing the cover behind her.

Montefalco is left staring at the dark tunnel as the roaring gets louder.

Then it emerges. The MONGROID.

It is grown to adult size, walking "forward" on its four hands. The large fanged mouth is drooling and snapping. The humanoid head lazily swings around like a tail, occasionally babbling.

MONTEFALCO  
Jesus. No. No!

Montefalco scurries on all four of his limbs, trying to get away. The Mongroid is quickly advancing like an alligator.

MONTEFALCO  
NO! NO!

He's trying to get to his feet but keeps slipping and falling.

MONTEFALCO  
NOOOOOOOOOO!

The Mongroid SNAPS ITS JAWS on Montefalco's leg, pulling him down.

Rather than bite his leg off, it chomps further up, taking in more and more of the screaming general. Montefalco is trying to pull his bloody body out, but can't.

The Mongroid chomps higher and finally clamps closed over Montefalco's head.

The Mongroid steps back into the dark, pulling its meal, Montefalco's arms still dangling out of its grinding maw.

INT. LUCIDIQUE'S BEDROOM-NIGHT

Lucidique lays in bed covered by a white silk sheet, lost in thought.

EXT. STREET-NIGHT

Lucidique stands in an alley, watching one HOMELESS PERSON stab another.

EXT. CEMETARY-NIGHT

Lucidique watches Venal Anatomica. Still blind, it is sitting in front of a freshly dug corpse and is gnawing meat off of it. It is crying. Occasionally, it swings its hands out in an attempt to feel for something.

Lucidique steps up to the creature, her blade ready to strike. It doesn't seem to notice her.

She steps away, lowering her weapon.

LUCIDIQUE  
Suffer. Like us all.

She walks away from it talking to it, to herself.

LUCIDIQUE  
Primordium has always been home to the monsters and will always  
be until the day it finally burns. It's just the face that changes.

EXT. DESERT-NIGHT

Agonistes is journeying through the desert.

LUCIDIQUE (VO)  
Some of us come to Primordium. Some of us are made here. I tried to change this city  
and paid the price with my humanity. Now, I will kill saint and sinner alike.

EXT. STREET-NIGHT

We see a street, empty except for Lucidique who is in her full garb. She is walking down the middle of the street approaching us. Until her face fills our view.

LUCIDIQUE  
I issue a warning to stay away from Primordium.  
For it is here that I have found my destiny.  
(beat)  
And it is here, I will make you find yours.

She flashes a horrific fang filled scream coming right at us.

CUT TO BLACK


End file.
